Podcast appearances and mentions of Gaston Leroux

In the hollow of a terrible storm, four hunters meet a melancholy madman who offers them shelter. But has this man really lost his mind, or is he laboring under the burden of a terrible curse? Gaston Leroux, today on The Classic Tales Podcast.   Welcome to this VINTAGE episode of The Classic Tales Podcast. Thank you for listening.   The audiobook library card is moving forward nicely, and if you'd like to see, you can go to audiobooklibrarycard.com. It will be an all-you-can-hear, streamable plan for The Classic Tales. In just a few weeks, there will be a subscription that will give you on demand access to the entire Classic Tales Audiobooks library. The library contains dozens of novel length titles that have never been on the podcast.   Furthermore, folks with businesses, libraries, students, what have you, will be able to pay for a crazy low monthly subscription, and give complete access to all their people. This will be a great all-inclusive solution to your audiobook needs.   So, keep your ears peeled for new developments, and I'll keep you up to date. For those who already support us at the $10/month rate or more, your subscription will be automatically upgraded to the Audiobook Library Card. Good things are coming!     And now, In Letters of Fire, by Gaston Leroux   Follow this link to become a monthly supporter:       Follow this link to subscribe to our YouTube Channel:       Follow this link to subscribe to the Arsène Lupin Podcast:     Follow this link to follow us on Instagram:     Follow this link to follow us on Facebook:

durée : 00:31:18 - Les Nuits de France Culture - par : Philippe Garbit - "Il n'y a aucun doute que Gaston Leroux était, dans son genre un illusionniste". En 1975, cette émission intitulée "Pour redécouvrir Gaston Leroux" diffusait des témoignages sur l'écrivain, dont sa fille Madeleine. - réalisation : Virginie Mourthé

E está no ar o Criptacast #67 - O Fantasma da Ópera! Sim, vamos falar da obra de Gaston Leroux, que saiu de uma literatura de mistério e suspense policial com fortes influências do horror, e é atualmente conhecida por seu triângulo amoroso e pela adaptação como musical da Broadway.Junte-se com a Larissa e o Higor para esse super bate-papo!Vem com a gente!Nos sigam em nossas redes sociais:⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Tiktok⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Site⁠⁠⁠⁠⁠⁠⁠⁠Conheça o nosso canal de notícias no Telegram, o ⁠⁠⁠⁠⁠⁠⁠⁠CriptaNews⁠⁠⁠⁠⁠⁠...#criptacast #fantasmadaopera #literaturagotica #gastonleroux #suspense #musical #zonasombria

Mặc dù chỉ giành được hai giải César trên tổng số 14 đề cử, nhưng bộ phim Pháp thắng lớn trong năm vừa qua vẫn là « Bá tước Monte Cristo », phóng tác từ truyện của văn hào Dumas. Nam diễn viên Pierre Niney đã không lầm khi đăng tin nhắn trên mạng xã hội Instagram : phần thưởng lớn nhất vẫn là tình cảm ưu ái của khán giả. Về điểm này, bộ phim đã lập kỷ lục với hơn 9 triệu lượt người xem. Thành công tột bậc của « Bá tước Monte Cristo » (Le Comte de Monte Cristo) đã tạo thêm cơ hội cho các nhà sản xuất lao vào khai thác kho truyện kinh điển của Pháp. Sau loạt phim truyền hình « Nautilus » phóng tác từ bộ tiểu thuyết « Hai vạn dặm dưới đáy biển » (20.000 lieues sous les mers) của Jules Verne, đã có hai tập « Ba chàng lính ngự lâm » (Les trois mousquetaires) trên màn ảnh rộng. Năm nay, có nhiều dự án sắp được cho ra mắt. Đầu tiên hết là bản điện ảnh mới của Những người khốn khổ (Les Misérables) dựa theo kiệt tác của văn hào Victor Hugo, với Vincent Lindon trong vai chính. Đây sẽ là phiên bản phóng tác thứ 32 trong gần một thế kỷ qua.Kế đến có dự án « Truy lùng Fantômas », dựa theo bộ truyện nhiều kỳ đăng trên báo vào những năm 1910 của hai tác giả Pierre Souvestre và Marcel Allain. Phiên bản nổi tiếng trước đây là vào giữa những năm 1960, với vua hề Louis de Funès và tài tử Jean Marais trong vai chính. Còn bản mới được giao cho đạo diễn Frédéric Tellier (Vụ án SK1) và có khả năng Vincent Cassel sẽ đảm nhận vai chính.Hợp tác giữa ngành xuất bản và các hãng phimCuối cùng và quan trọng không kém là dự án quay phim « Bóng ma trong nhà hát » (Le Fantôme de l'Opéra) dựa theo quyển tiểu thuyết nhiều kỳ đăng trên báo của Gaston Leroux vào năm 1909. Tác phẩm nổi tiếng này đã trở thành nguồn cảm hứng cho hàng chục phiên bản chuyển thể kể cả điện ảnh, truyền hình và nhạc kịch. Tuy nhiên, điều đáng ghi nhận là hầu hết các bản phóng tác đều do các đạo diễn nước ngoài thực hiện (Anh, Mỹ hay Ý). Đây là lần đầu tiên bộ phim sẽ được quay bằng tiếng Pháp với dàn diễn viên trẻ như Deva Cassel, Julien de Saint Jean (từng thành công trong Monte Cristo) và Romain Duris (vai chính trong phim tiểu sử về Gustave Eiffel). Phiên bản điện ảnh mới lấy cảm hứng từ câu chuyện tình bí ẩn trong nhà hát Opéra Garnier của Paris lộng lẫy xa hoa vào cuối thế kỷ XIX, kết hợp hai thể loại tâm lý hồi hộp với phim huyền ảo theo kiểu « Twilight ».Theo Trung tâm Điện ảnh Quốc gia CNC, trong gần một thập niên vừa qua, đã có hơn 1.400 bộ phim điện ảnh cũng như truyền hình là các bản phóng tác từ tiểu thuyết, tính trung bình có khoảng 70 tác phẩm được chuyển thể mỗi năm. Theo cô Jessy Neau, giáo sư khoa Văn học so sánh tại trường đại học Poitiers, hiện tượng chuyển thể sách thành phim đã có từ lâu, nhưng lại đặc biệt tăng mạnh trong những năm gần đây, nhờ vào sự hợp tác chặt chẽ giữa ngành xuất bản và các nhà làm phim. Trào lưu này vừa giúp công chúng khám phá lại các tác phẩm văn học nhưng đồng thời là động lực kinh tế đẩy nền điện ảnh ra khỏi vòng khủng hoảng.« Theo khảo sát gần đây của Trung tâm Điện ảnh Quốc gia, ta có thể nhận thấy, 20% các bộ phim được cho ra mắt ở Pháp, tức 1/5 đều được chuyển thể từ sách in. Mặc dù các kịch bản gốc, không dựa vào tiểu thuyết hay truyện ngắn vẫn còn giành ưu thế, nhưng rõ ràng là kịch bản phóng tác đang dần lớn mạnh, đóng một vai trò quan trọng hơn. Điều này chủ yếu là do sự thành công tại các rạp chiếu phim của các tác phẩm điện ảnh phóng tác từ các quyển tiểu thuyết nổi tiếng. Sở dĩ có nhiều tựa sách được chuyển thể lên màn ảnh rộng là vì kể từ hơn một thập niên qua, hai ngành xuất bản sách và sản xuất phim đã xích lại gần nhau để hợp tác chặt chẽ hơn nữa. Bằng chứng là kể từ 10 năm nay, trong khuôn khổ liên hoan Cannes, hội chợ phim đã cho ra đời sự kiện « Shoot the Book ». Chương trình này tuyển chọn kỹ lưỡng rồi giới thiệu với giới sản xuất những tựa sách có cốt truyện hấp dẫn, có nội dung phù hợp để chuyển thể thành phim. Đằng sau chương trình « Shoot the Book », có sự tham gia của Hiệp hội SCELF (Société civile des Éditeurs de Langue Françaises) bao gồm hơn 300 nhà xuất bản tiếng Pháp. Ngoài liên hoan phim Cannes, tổ chức này còn hiện diện tại Hội chợ sách Paris. Điều đó cho thấy nỗ lực chuyên nghiệp hóa của ngành xuất bản, một mặt tạo cơ hội chuyển thế một số tiểu thuyết mới lên màn ảnh lớn, đồng thời khai thác lại những tác phẩm kinh điển. Có thể nói là các kịch bản phóng tác đang dần lớn mạnh trở lại một phần là cũng nhờ vào chương trình này, tạo thêm sự kết nối giữa văn học và điện ảnh ».Phim Pháp : 70 kịch bản phóng tác mỗi nămVao lúc các rạp chiếu phim vẫn chưa tìm lại được mức hoạt động bình thường như vào năm 2019, ngành sản xuất hơn bao giờ hết vẫn cần có những tác phẩm điện ảnh có đủ sức lôi kéo khán giả vào rạp. Việc tận dụng khai thác những câu chuyện nổi tiếng với dàn diễn viên quen thuộc lại hợp với nhiều đối tượng, thay vì phải chia thành nhiều phân khúc. Theo giáo sư Jessy Neau, yếu tố này giải thích phần nào vì sao các nhà phim Pháp không muốn đầu tư vào các dự án có nhiều rủi ro, mà lại chọn những bộ phim chuyển thể từ các tác phẩm văn học kinh điển.« Năm vừa qua đánh dấu sự trở lại trên màn ảnh lớn của nhiều bộ phim dựng từ các tiểu thuyết kinh điển : Ba chàng lính ngự lâm cũng như Bá tước Monte Cristo của Alexandre Dumas, bộ phim Vỡ mộng dựa theo Les Illusions Perdues của văn hào Balzac … Sở dĩ các nhà biên kịch nối lại với các bộ tiểu thuyết nổi tiếng hay các tác phẩm văn học đồ sộ có từ thế kỷ XIX, là vì các bộ truyện này rất hay và dễ hiểu đối với mọi người. Thời kỳ Covid đã gây khá nhiều thiệt hại cho ngành điện ảnh, giờ đây để thu hút đông đảo khán giả trở lại các rạp chiếu phim, các nhà sản xuất trông cậy rất nhiều vào các tác phẩm phù hợp với mọi lứa tuổi, từ trẻ em đến giới cao niên. Thị trường phim ảnh được chia thành nhiều phân khúc : Giới trẻ thích xem phim giải trí « thương mại », còn giới lớn tuổi thì lại chuộng phim « nghệ thuật » hơn. Trường hợp của bộ phim Bá tước Monte Cristo hội tụ cả hai yếu tố này, phim lộng lẫy hoành tránh đủ để thu hút giới trẻ đã quen xem thể loại hành động blockbuster, bộ phim cũng có cốt truyện hay và có đủ chiều sâu để nhắm vào đối tượng cao tuổi. Xa hơn nữa, nhờ vào kinh phí đầu tư, phim trở nên hấp dẫn cho thành phần khán giả nào mê phim cổ trang, gọi là xưa nhưng vẫn hợp với mọi thời ».Sự khởi sắc của những phiên bản phóng tác có nguy cơ làm thụt lùi các kịch bản nguyên tác. Liệu điều này có ảnh hưởng tới công việc của những người viết kịch bản hay chăng. Theo cô Jessy Neau, giảng viên đại học Poitiers, ngành làm phim đủ rộng lớn để cho các nhà viết kịch bản gốc vẫn còn đất dụng võ. Trước mắt, các serie truyền hình đều đang tuyển dụng các tài năng soạn kịch bản nguyên tác.« Cũng cần biết rằng kịch bản nguyên tác hay phóng tác đều cần đến các nhà biên kịch. Trong trường hợp của một tác phẩm gốc, đội ngũ sáng tạo phải viết kịch bản từ đầu đến cuối. Còn trong phóng tác, các nhà biên kịch cũng phải nỗ lực rút ngắn một bộ tiểu thuyết dày đặc thành một kịch bản vài chục trang. Dĩ nhiên là sự lớn mạnh của phim phóng tác khiến nhiều người lo ngại kịch bản gốc đang bị thụt lùi, trong khi thể loại này được đánh giá có nhiều sức sáng tạo hơn. Công việc phóng tác có thể ảnh hưởng tới những người viết kịch bản gốc, họ ít có cơ hội hơn, thế nhưng các xu hướng thịnh hành này cũng chỉ là nhất thời. Có khá nhiều nhà biên kịch chuyển từ điện ảnh sang truyền hình. Thời kỳ Covid làm gia tăng sức hấp dẫn của các bộ phim truyền hình nhiều tập, và các tác giả lao vào khai thác thị trường này. Hình thức phim dài nhiều tập hay nhiều mùa cũng bảo đảm việc làm cho họ trong một thời gian, để phát huy ý tưởng thành một kịch bản gốc xuất sắc. Nhìn chung, ngành sản xuất phim vẫn cần có cả hai, cho dù trên màn ảnh lớn tại Pháp hiện nay, ăn khách nhất vẫn là những bộ phim xuyên thế hệ, chỉ một tác phẩm duy nhất nhưng lại nhắm cùng lúc vào nhiều thành viên trong cùng một gia đình. Điều đó giải thích vì sao các nhà biên kịch vẫn đang khai thác mạnh kho tiểu thuyết kinh điển của Pháp ».

Mặc dù chỉ giành được hai giải César trên tổng số 14 đề cử, nhưng bộ phim Pháp thắng lớn trong năm vừa qua vẫn là « Bá tước Monte Cristo », phóng tác từ truyện của văn hào Dumas. Nam diễn viên Pierre Niney đã không lầm khi đăng tin nhắn trên mạng xã hội Instagram : phần thưởng lớn nhất vẫn là tình cảm ưu ái của khán giả. Về điểm này, bộ phim đã lập kỷ lục với hơn 9 triệu lượt người xem. Thành công tột bậc của « Bá tước Monte Cristo » (Le Comte de Monte Cristo) đã tạo thêm cơ hội cho các nhà sản xuất lao vào khai thác kho truyện kinh điển của Pháp. Sau loạt phim truyền hình « Nautilus » phóng tác từ bộ tiểu thuyết « Hai vạn dặm dưới đáy biển » (20.000 lieues sous les mers) của Jules Verne, đã có hai tập « Ba chàng lính ngự lâm » (Les trois mousquetaires) trên màn ảnh rộng. Năm nay, có nhiều dự án sắp được cho ra mắt. Đầu tiên hết là bản điện ảnh mới của Những người khốn khổ (Les Misérables) dựa theo kiệt tác của văn hào Victor Hugo, với Vincent Lindon trong vai chính. Đây sẽ là phiên bản phóng tác thứ 32 trong gần một thế kỷ qua.Kế đến có dự án « Truy lùng Fantômas », dựa theo bộ truyện nhiều kỳ đăng trên báo vào những năm 1910 của hai tác giả Pierre Souvestre và Marcel Allain. Phiên bản nổi tiếng trước đây là vào giữa những năm 1960, với vua hề Louis de Funès và tài tử Jean Marais trong vai chính. Còn bản mới được giao cho đạo diễn Frédéric Tellier (Vụ án SK1) và có khả năng Vincent Cassel sẽ đảm nhận vai chính.Hợp tác giữa ngành xuất bản và các hãng phimCuối cùng và quan trọng không kém là dự án quay phim « Bóng ma trong nhà hát » (Le Fantôme de l'Opéra) dựa theo quyển tiểu thuyết nhiều kỳ đăng trên báo của Gaston Leroux vào năm 1909. Tác phẩm nổi tiếng này đã trở thành nguồn cảm hứng cho hàng chục phiên bản chuyển thể kể cả điện ảnh, truyền hình và nhạc kịch. Tuy nhiên, điều đáng ghi nhận là hầu hết các bản phóng tác đều do các đạo diễn nước ngoài thực hiện (Anh, Mỹ hay Ý). Đây là lần đầu tiên bộ phim sẽ được quay bằng tiếng Pháp với dàn diễn viên trẻ như Deva Cassel, Julien de Saint Jean (từng thành công trong Monte Cristo) và Romain Duris (vai chính trong phim tiểu sử về Gustave Eiffel). Phiên bản điện ảnh mới lấy cảm hứng từ câu chuyện tình bí ẩn trong nhà hát Opéra Garnier của Paris lộng lẫy xa hoa vào cuối thế kỷ XIX, kết hợp hai thể loại tâm lý hồi hộp với phim huyền ảo theo kiểu « Twilight ».Theo Trung tâm Điện ảnh Quốc gia CNC, trong gần một thập niên vừa qua, đã có hơn 1.400 bộ phim điện ảnh cũng như truyền hình là các bản phóng tác từ tiểu thuyết, tính trung bình có khoảng 70 tác phẩm được chuyển thể mỗi năm. Theo cô Jessy Neau, giáo sư khoa Văn học so sánh tại trường đại học Poitiers, hiện tượng chuyển thể sách thành phim đã có từ lâu, nhưng lại đặc biệt tăng mạnh trong những năm gần đây, nhờ vào sự hợp tác chặt chẽ giữa ngành xuất bản và các nhà làm phim. Trào lưu này vừa giúp công chúng khám phá lại các tác phẩm văn học nhưng đồng thời là động lực kinh tế đẩy nền điện ảnh ra khỏi vòng khủng hoảng.« Theo khảo sát gần đây của Trung tâm Điện ảnh Quốc gia, ta có thể nhận thấy, 20% các bộ phim được cho ra mắt ở Pháp, tức 1/5 đều được chuyển thể từ sách in. Mặc dù các kịch bản gốc, không dựa vào tiểu thuyết hay truyện ngắn vẫn còn giành ưu thế, nhưng rõ ràng là kịch bản phóng tác đang dần lớn mạnh, đóng một vai trò quan trọng hơn. Điều này chủ yếu là do sự thành công tại các rạp chiếu phim của các tác phẩm điện ảnh phóng tác từ các quyển tiểu thuyết nổi tiếng. Sở dĩ có nhiều tựa sách được chuyển thể lên màn ảnh rộng là vì kể từ hơn một thập niên qua, hai ngành xuất bản sách và sản xuất phim đã xích lại gần nhau để hợp tác chặt chẽ hơn nữa. Bằng chứng là kể từ 10 năm nay, trong khuôn khổ liên hoan Cannes, hội chợ phim đã cho ra đời sự kiện « Shoot the Book ». Chương trình này tuyển chọn kỹ lưỡng rồi giới thiệu với giới sản xuất những tựa sách có cốt truyện hấp dẫn, có nội dung phù hợp để chuyển thể thành phim. Đằng sau chương trình « Shoot the Book », có sự tham gia của Hiệp hội SCELF (Société civile des Éditeurs de Langue Françaises) bao gồm hơn 300 nhà xuất bản tiếng Pháp. Ngoài liên hoan phim Cannes, tổ chức này còn hiện diện tại Hội chợ sách Paris. Điều đó cho thấy nỗ lực chuyên nghiệp hóa của ngành xuất bản, một mặt tạo cơ hội chuyển thế một số tiểu thuyết mới lên màn ảnh lớn, đồng thời khai thác lại những tác phẩm kinh điển. Có thể nói là các kịch bản phóng tác đang dần lớn mạnh trở lại một phần là cũng nhờ vào chương trình này, tạo thêm sự kết nối giữa văn học và điện ảnh ».Phim Pháp : 70 kịch bản phóng tác mỗi nămVao lúc các rạp chiếu phim vẫn chưa tìm lại được mức hoạt động bình thường như vào năm 2019, ngành sản xuất hơn bao giờ hết vẫn cần có những tác phẩm điện ảnh có đủ sức lôi kéo khán giả vào rạp. Việc tận dụng khai thác những câu chuyện nổi tiếng với dàn diễn viên quen thuộc lại hợp với nhiều đối tượng, thay vì phải chia thành nhiều phân khúc. Theo giáo sư Jessy Neau, yếu tố này giải thích phần nào vì sao các nhà phim Pháp không muốn đầu tư vào các dự án có nhiều rủi ro, mà lại chọn những bộ phim chuyển thể từ các tác phẩm văn học kinh điển.« Năm vừa qua đánh dấu sự trở lại trên màn ảnh lớn của nhiều bộ phim dựng từ các tiểu thuyết kinh điển : Ba chàng lính ngự lâm cũng như Bá tước Monte Cristo của Alexandre Dumas, bộ phim Vỡ mộng dựa theo Les Illusions Perdues của văn hào Balzac … Sở dĩ các nhà biên kịch nối lại với các bộ tiểu thuyết nổi tiếng hay các tác phẩm văn học đồ sộ có từ thế kỷ XIX, là vì các bộ truyện này rất hay và dễ hiểu đối với mọi người. Thời kỳ Covid đã gây khá nhiều thiệt hại cho ngành điện ảnh, giờ đây để thu hút đông đảo khán giả trở lại các rạp chiếu phim, các nhà sản xuất trông cậy rất nhiều vào các tác phẩm phù hợp với mọi lứa tuổi, từ trẻ em đến giới cao niên. Thị trường phim ảnh được chia thành nhiều phân khúc : Giới trẻ thích xem phim giải trí « thương mại », còn giới lớn tuổi thì lại chuộng phim « nghệ thuật » hơn. Trường hợp của bộ phim Bá tước Monte Cristo hội tụ cả hai yếu tố này, phim lộng lẫy hoành tránh đủ để thu hút giới trẻ đã quen xem thể loại hành động blockbuster, bộ phim cũng có cốt truyện hay và có đủ chiều sâu để nhắm vào đối tượng cao tuổi. Xa hơn nữa, nhờ vào kinh phí đầu tư, phim trở nên hấp dẫn cho thành phần khán giả nào mê phim cổ trang, gọi là xưa nhưng vẫn hợp với mọi thời ».Sự khởi sắc của những phiên bản phóng tác có nguy cơ làm thụt lùi các kịch bản nguyên tác. Liệu điều này có ảnh hưởng tới công việc của những người viết kịch bản hay chăng. Theo cô Jessy Neau, giảng viên đại học Poitiers, ngành làm phim đủ rộng lớn để cho các nhà viết kịch bản gốc vẫn còn đất dụng võ. Trước mắt, các serie truyền hình đều đang tuyển dụng các tài năng soạn kịch bản nguyên tác.« Cũng cần biết rằng kịch bản nguyên tác hay phóng tác đều cần đến các nhà biên kịch. Trong trường hợp của một tác phẩm gốc, đội ngũ sáng tạo phải viết kịch bản từ đầu đến cuối. Còn trong phóng tác, các nhà biên kịch cũng phải nỗ lực rút ngắn một bộ tiểu thuyết dày đặc thành một kịch bản vài chục trang. Dĩ nhiên là sự lớn mạnh của phim phóng tác khiến nhiều người lo ngại kịch bản gốc đang bị thụt lùi, trong khi thể loại này được đánh giá có nhiều sức sáng tạo hơn. Công việc phóng tác có thể ảnh hưởng tới những người viết kịch bản gốc, họ ít có cơ hội hơn, thế nhưng các xu hướng thịnh hành này cũng chỉ là nhất thời. Có khá nhiều nhà biên kịch chuyển từ điện ảnh sang truyền hình. Thời kỳ Covid làm gia tăng sức hấp dẫn của các bộ phim truyền hình nhiều tập, và các tác giả lao vào khai thác thị trường này. Hình thức phim dài nhiều tập hay nhiều mùa cũng bảo đảm việc làm cho họ trong một thời gian, để phát huy ý tưởng thành một kịch bản gốc xuất sắc. Nhìn chung, ngành sản xuất phim vẫn cần có cả hai, cho dù trên màn ảnh lớn tại Pháp hiện nay, ăn khách nhất vẫn là những bộ phim xuyên thế hệ, chỉ một tác phẩm duy nhất nhưng lại nhắm cùng lúc vào nhiều thành viên trong cùng một gia đình. Điều đó giải thích vì sao các nhà biên kịch vẫn đang khai thác mạnh kho tiểu thuyết kinh điển của Pháp ».

"Pitiful creature of darkness, what kind of life have you known?" The Phantom of the Opera (2004) written and directed by Joel Schmacher, based on The Phantom of the Opera by Andrew Lloyd Webber and The Phantom of the Opera by Gaston Leroux. Starring Emmy Rossum, Gerard Butler, Patrick Wilson, Minnie Driver, and Miranda Richardson. Off-topic chat: Amanda: Capote, 2005 Molly: The Lighthouse Witches by CJ Cooke Chance: Stellar Blade on PS5 That's So Gothic tries to release episodes on the first and third Thursday every month. Email sogothicpod@gmail.com. Follow Chance and Amanda on Letterboxd @mrchancelee and @mcavoy_amanda. Instagram @sogothicpod Closing music "Gothic Guitar" by Javolenus 2014- Licensed under Creative Commons Attribution Noncommercial (3.0)

CL - Février 2025 - Twist !Il y a des œuvres réputées pour leur fin que l'on n'a pas vu venir, nous nous sommes plongés dans certaines d'entre elles.Les livres que nous avons lu/écouté :00:06:13 Aughra : TERMINUS de Tom Sweterlitsch

"O Fantasma da Ópera", um romance gótico de Gaston Leroux, publicado em 1910, é ambientado na opulenta Ópera de Paris durante o século XIX. A história gira em torno de um triângulo amoroso complexo, envolvendo a bela soprano Christine Daaé, seu amigo de infância e pretendente, o Visconde Raoul de Chagny, e o misterioso e deformado Fantasma, que habita os labirínticos subterrâneos do teatro. "O Fantasma da Ópera" é um clássico da literatura gótica que continua a fascinar leitores e espectadores de todo o mundo. Sua adaptação para o teatro musical, composta por Andrew Lloyd Webber, é um dos maiores sucessos da história do teatro, levando a história do Fantasma a um público ainda maior. A história atemporal do amor, obsessão e redenção continua a ressoar com o público, garantindo que "O Fantasma da Ópera" permaneça vivo por gerações. Apresentação: @liviamulder Edição: Lívia Leão Email: lihnumlivro@hotmail.com

durée : 00:29:47 - Avec Martine Kahane - par : Philippe Venturini - "Nous sommes le 5 janvier 2025, et il y a tout juste 150 ans, le 5 janvier 1875 était inauguré un monument symbolique de Paris et de la France, l'Opéra de Paris-le Palais Garnier. Il y rode paraît-il un fantôme que je vous propose d'approcher en compagnie de Martine Kahane ..." Philippe Venturini - réalisé par : Doria Zénine

Content Warning: reference to suicideUCA is officially 10 years old, and to belatedly acknowledge this, Kaela has a special Christmas gift for David: Holiday-adjacent pulp from Weird Tales, written by the author of The Phantom of the Opera. The duo that started it will have contend with sailors, street fairs and the notion that Baby Jesus might actually be the one delivering gifts on Christmas Eve.Story by Gaston Leroux, first published in Weird Tales, December 1930.

Welcome to season 2 of Storytime for Grownups! We are reading Pride and Prejudice, a few chapters at a time, with a few notes along the way. It's like an audio book with built in notes. So brew a pot of tea, find a cozy chair, and settle in. It's storytime!To hear me discuss The Phantom of the Opera by Gaston Leroux in the Halloween episode of the Great Books Podcast, click hereTo submit a question or comment about this episode, click hereTo learn more about your host, Faith Moore, click hereTo join Faith's mailing list, click hereFollow Faith on X hereTo pick up a copy of Faith's novel, Christmas Karol, click hereTo support the show financially, click hereSupport the show

John J. Miller is joined by Faith Moore to discuss 'The Phantom of the Opera,' by Gaston Leroux.

Jala is joined by Doug Lief (Nostalgium Arcanum) and Alex Krieger to discuss the 1925 silent film classic, The Phantom of the Opera starring Lon Chaney. This episode is a companion to Doug's episode about the same movie where he and his guest give the rundown beat and beat, check it out here (https://nostalgiumarcanum.fireside.fm/109)! Mentioned during the episode: * Wikipedia (https://en.wikipedia.org/wiki/The_Phantom_of_the_Opera_(1925_film)) * André Castaigne's Phantom artwork (https://www.johncoulthart.com/feuilleton/2019/11/28/andre-castaignes-phantom-of-the-opera/) * Version differences 1925 vs 1929, the unmasking scene (https://www.youtube.com/watch?v=pM0NTRM5R80) * Reddit post on the differences between the 1925 and 1929 cuts (https://www.reddit.com/r/horror/comments/12xpbgc/the_phantom_of_the_opera_1925_vs_the_phantom_of/) * “Man's Hatred Has Made Me So”: Freakification and the Shifting Gaze in The Phantom of the Opera (https://openjournals.bsu.edu/dlr/article/download/2665/1587/4311#:~:text=Although%20many%20versions%20of%20the,capitalizes%20on%20the%20shift%20of) * The Phantom of the Opera: A Silent Era Masterpiece (https://theasc.com/articles/phantom-of-the-opera) Related episodes: * Episode 14: The Phantom of the Opera and Phantom by Susan Kay (Books) (https://www.jalachan.place/14) - Jala is joined by Alex Krieger and Slade to discuss both Gaston Leroux's classic 1910 novel The Phantom of the Opera as well as_ Phantom_ by Susan Kay, a novel exploring Erik's past before he dominated the Paris Opera. * A Glass Darkly Episode 1: Our Story (https://www.jalachan.place/b-02) - In this inaugural episode of A Glass Darkly, Jala reads an original Phantom of the Opera vignette setting the stage for a potential new project. She wrote this piece in May 2023. All episodes of A Glass Darkly may be found as member perks on our Ko-Fi (https://ko-fi.com/fireheartmedia). Check out the Swag Shop (https://www.teepublic.com/user/fireheartmedia) to share your love with the world! Support this show via Ko-fi! Just like Patreon, there are subscription tiers (with bonus content!) in addition to the ability to drop us a one-time donation. Every little bit helps us put out better quality content and keep the lights on, and gets a shout out in a future episode. Check out ko-fi.com/fireheartmedia (https://ko-fi.com/fireheartmedia) for the details! Don't forget to rate & review us on your podcasting platform of choice~ Jala Prendes Bluesky - @jalachan (https://bsky.app/profile/jalachan.bsky.social), Bluesky - @fireheartmedia (https://bsky.app/profile/fireheartmedia.bsky.social) Twitter (https://twitter.com/jalachan) Instagram (https://instagram.com/jalachan) The Level (https://thelevelpodcast.com/hosts/jala) Doug Lief Nostalgium Arcanum (https://nostalgiumarcanum.fireside.fm/) Facebook (https://www.facebook.com/groups/265036650022926/) Twitter (https://x.com/nostalgiumpod?s=21&t=0NN10biK6Jch6W8f4sEW8Q) BlueSky (https://bsky.app/profile/nostalgiumpod.bsky.social) Threads (https://www.threads.net/@_nostalgium_arcanum_) Instagram (https://www.instagram.com/_nostalgium_arcanum_/) Alex Krieger BlueSky (https://bsky.app/profile/picklefactory.org) Special Guests: Alex Krieger and Doug Lief.

Welcome to Episode 134 of Busy Kids Love Music! As we approach Halloween, we're diving into one of the most famous and captivating musical stories of all time: The Phantom of the Opera by Andrew Lloyd Webber. In this episode, you'll learn all about this beloved musical and the story behind it. What You'll Learn in This Episode: The backstory of The Phantom of the Opera,first written as a novel by Gaston Leroux in 1910.  How Andrew Lloyd Webber was inspired to turn this haunting tale into a musical masterpiece. Key highlights from the musical, including the dramatic love story between the Phantom and Christine. The iconic moments from the show, such as the famous falling chandelier scene. A closer look at some of the most famous songs from the musical, including "The Music of the Night" and "All I Ask of You." Musical Highlights Throughout the episode, you'll hear snippets of music from *The Phantom of the Opera* performed: The Phantom of the Opera - Epic Piano Solo | Leiki Ueda "Masquerade" from Phantom Of The Opera - solo piano 'The Music of The Night' Ramin Karimloo | The Phantom of The Opera All I Ask Of You | The Phantom Of The Opera Overture Bonus Resources Love Broadway musicals? Don't miss these bonus resources: 1. Busy Kids Love Music Episode 94 all about Broadway musicals. 2. A fun DIY Broadway Poster Printable for your kids to design and color. Curated Playlist I've put together a special YouTube playlist featuring iconic scenes from both The Phantom of the Opera musical production and the 2004 film adaptation. You'll also find clips of the thrilling chandelier crash scene! Check it out here. Thank you for tuning in! Don't forget to leave a review if you enjoyed the episode, and have a fantastic Halloween! Keep making music, and I'll see you in the next episode.   Subscribe & Review  If you enjoy the podcast, please subscribe and leave a review on your favorite podcast platform. Your support helps us reach more music-loving families!

Happy Octoberween, dear listeners! In honor of the season, we bring you some spook-adjacent books for October's episodes. Today, our favorite guest Mary Parker is back with the sequel to The Phantom of the Opera musical - in book form! Although it was also turned into a musical, but remember this book is not the sequel to the original Phantom of the Opera book by Gaston Leroux...yeah. Musings and derailments in this episode include: the morning routine underneath the Opera Populaire, Paris transforms into Girl Boss Mammon, Mary becomes a Valley Girl Priest, and Chris plays God. In addition to our usual barnyard language, today's episode includes discussion or mention of ableism, accidents leading to physical disfigurement, guns, murder, and suicide.

Here is every episode we ever covered on stories based on Gaston Leroux's Phantom of the Opera on our original show "Musicals with Cheese" in one ten hour long compilation episode! The episodes are as follows: The Phantom of the Opera (with Elisa Hansen) Love Never Dies (with Elisa Hansen) Love Never Dies (with Brianna Jones) Phantom: An American Musical (with Angelina Meehan) Goosebumps: The Phantom of the Auditorium Phantom of the Paradise Phantom of the Mall (feat. Amanda Hunt) The Phantom of the Opera (1989) The Phantom of the Opera (1925) Dario Argento's Phantom of the Opera Ken Hill's Phantom of the Opera Learn more about your ad choices. Visit megaphone.fm/adchoices

NOUVEAU - Abonnez-vous à Minuit+ pour profiter de Crimes - Histoires Vraies et de milliers d'histoires vraies sans publicité, d'épisodes en avant-première et en intégralité. Vous aurez accès sans publicité à des dizaines de programmes passionnants comme Espions - Histoires Vraies, Paranormal - Histoires Vraies ou encore Catastrophes - Histoires Vraies.

NOUVEAU - Abonnez-vous à Minuit+ pour profiter de Crimes - Histoires Vraies et de milliers d'histoires vraies sans publicité, d'épisodes en avant-première et en intégralité. Vous aurez accès sans publicité à des dizaines de programmes passionnants comme Espions - Histoires Vraies, Paranormal - Histoires Vraies ou encore Catastrophes - Histoires Vraies.

durée : 00:19:59 - Les Nuits de France Culture - par : Philippe Garbit - Qui êtes-vous ? Plutôt Chesterton, Agatha Christie et Gaston Leroux ou alors James Hardley Chase et Raymond Chandler ? Le débat réunissait Simone Signoret, Marcel Duhamel parmi d'autres, en 1949 dans la "Tribune de Paris - Le roman policier traditionnel et le roman policier noir". - invités : Marcel Duhamel Éditeur et traducteur; Simone Signoret Actrice

This week we talk about a book that, being honest, we did not care for. We wanted to read one more locked room mystery to see if this was our thing or not. The patrons voted for this one when it was put up and, well, here we are. It's not a great book and we had more fun talking about it than reading it.Support the Show.Discord - https://discord.gg/6BaNRtcP8CThreads - https://www.threads.net/@wordsaboutbookspodcastInstagram - https://www.instagram.com/wordsaboutbookspodcastBlog - https://blog.wordsaboutbooks.ninja/Buy the Books - https://bookshop.org/shop/wabpod

The second of our three Patreon-exclusive episodes is here! Originally published Sep 27, 2023. Backlist: This episode has been a long time coming. Our good friend Raeven stops by to chat about Gaston Leroux's Phantom of the Opera, an extremely formative and influential story for us, the podcast, and YA at large. Which is why it's extremely funny and extremely weird that the novel is largely some sort of Abbot and Costello sketch with the plot of the musical going on in the background. This is gonna be a wild one. Chill: We are all drinking variations of Raeven's Backlist fan drink "Ambigously Brown". Ollie's got the closest to the original recipe: a hot cocoa with oatmilk, Abuelita drinking chocolate, Rumchata, and cinnamon, topped with mocha Whipshot. Cyna went iced: coffee with almond milk, chocolate syrup, Abuelita drinking chocolate, and Rumchata. Raeven's is on the go: this morning's coffee mixed with Abuelita drinking chocolate, Rumchata, and spiced vanilla rum, all dumped into a McCafe iced coffee, Pics! Cyna / Raeven / Ollie As Mentioned: You can find Raeven on Tumblr, Twitter, and A03 for some extremely Backlist-relevant fanfic. Intro theme - "Let It In" by Josh Woodward. (2h 05m. Content Warning: Profanity, alcohol consumption, sexually explicit and generally extremely filthy language, discussion of stalking, sexual harassment, suicide, and self-harm.)

This week on the blog, a podcast interview with the writer of a great new book, “London After Midnight: The Lost Film,” a book about the classic lost Lon Chaney film.LINKS A Free Film Book for You: https://dl.bookfunnel.com/cq23xyyt12Another Free Film Book: https://dl.bookfunnel.com/x3jn3emga6Fast, Cheap Film Website: https://www.fastcheapfilm.com/Daniel's Facebook Page: https://www.facebook.com/p/London-After-Midnight-The-Lost-Film-100075993768254/Buy the Book “London After Midnight: The Lost Film”: https://www.amazon.com/London-After-Midnight-Lost-Film/dp/1399939890Eli Marks Website: https://www.elimarksmysteries.com/Albert's Bridge Books Website: https://www.albertsbridgebooks.com/YouTube Channel: https://www.youtube.com/c/BehindthePageTheEliMarksPodcastTRANSCRIPTJohn: So, Daniel, when did you first become aware of London After Midnight? Daniel: I was about seven years old when I first stumbled into Lon Chaney through my love of all things Universal horror, and just that whole plethora of characters and actors that you just knew by name, but hadn't necessarily seen away from the many still photographs of Frankenstein, Dracula, Dr. Jekyll and Mr. Hyde. And the Phantom was the one to really spark my interest. But this was prior to eBay. I couldn't see the film of Lon Chaney's Phantom of the Opera for a year. So, I kind of had the ultimate build to books and documentaries, just teasing me, teasing me all the time. And when I eventually did watch a few documentaries, the one thing that they all had in common was the name Lon Chaney. I just thought I need to learn more about this character Lon Chaney, because he just found someone of superhuman proportions just who have done all of these crazy diverse characters. And, that's where London After Midnight eventually peeked out at me and, occupied a separate interest as all the Chaney characterizations do.John: So how did you get into the Universal films? Were you watching them on VHS? Were they on tv? Did the DVDs happen by then?Daniel: I was still in the VHS days. My dad is a real big fan of all this as well. So he first saw Bela Lugosi's Dracula, on TV when he was a kid. And prior to me being born he had amassed a huge VHS collection and a lot of those had Boris Karloff, Bela Lugosi, Henry Hull, Claude Rains, Vincent Price, what have you.And a lot of them were dedicated to Universal horrors. And as a young curious kid, my eyes eventually crossed these beautiful cases and I really wanted to watch them. I think my first one I ever watched was The Mummy's Tomb or Curse of the Mummy. And it's just grown ever since, really.John: You're starting at the lesser end of the Universal monsters. It's like someone's starting the Marx Brothers at The Big Store and going, "oh, these are great. I wonder if there's anything better?" Jim: Well, I kinda like the fact that you have come by this fascination, honestly, as my father would say. You sort of inherited the family business, if you will. The book is great. The book is just great. And I'll be honest, I had no, except for recording the novel that John wrote, I really had no frame of reference for London after Midnight.John: Well, Jim, were you a monster guy? Were you a Universal Monster kid?Jim: Oh yeah. I mean, I had all the models. I love all of that, and certainly knew about Lon Chaney as the Phantom of the Opera, as The Hunchback of Notre Dame. I knew he was the man with a thousand faces. I knew he, when he died, he wrote JR. on his makeup kit and gave it to his kid. So, I knew stuff. But London after Midnight I didn't know at all, except for the sort of iconic makeup and that image, which I was familiar with. What was the inspiration for you in terms of writing this book?Daniel: Like you say, I really had no immediate go-to reference for London after Midnight, away from one or two images in a book. Really clearly they were very impactful images of Chaney, skulking around the old haunted mansion with Edna Tichenor by his side with the lantern, the eyes, the teeth, the cloak, the top hat, the webs, everything. Pretty much everything that embodies a good atmospheric horror movie, but obviously we couldn't see it.So that is all its fangs had deepened itself into my bloodstream at that point, just like, why is it lost? Why can't I see it? And again, the term lost film was an alien concept to me at a young age. I've always been a very curious child. Anything that I don't know or understand that much, even things I do understand that well, I always have to try to find out more, 'cause I just can't accept that it's like a bookend process. It begins and then it ends. And that was the thing with London after Midnight. Everything I found in books or in little interviews, they were just all a bit too brief. And I just thought there has to be a deeper history here, as there are with many of the greatest movies of all time. But same with the movies that are more obscure. There is a full history there somewhere because, 'cause a film takes months to a year to complete.It was definitely a good challenge for me. When we first had our first home computer, it was one of those very few early subjects I was typing in like crazy to try to find out everything that I could. And, that all incubated in my little filing cabinet, which I was able to call upon years later.Some things which were redundant, some things which I had the only links to that I had printed off in advance quite, sensibly so, but then there were certain things that just had lots of question marks to me. Like, what year did the film perish? How did it perish? The people who saw the film originally?And unlike a lot of Chaney films, which have been covered in immense detail, London after Midnight, considering it's the most famous of all lost films, still for me, had major holes in it that I just, really wanted to know the answers to. A lot of those answers, eventually, I found, even people who knew and institutions that knew information to key events like famous MGM Fire, they were hard pressed to connect anything up, in regards to the film. It was like a jigsaw puzzle. I had all these amazing facts. However, none of them kind of made sense with each other.My favorite thing is researching and finding the outcomes to these things. So that's originally what spiraled me into the storm of crafting this, initial dissertation that I set myself, which eventually became so large. I had to do it as a book despite, I'd always wanted to do a book as a kid.When you see people that you idolize for some reason, you just want to write a book on them. Despite, there had been several books on Lon Chaney. But I just always knew from my childhood that I always wanted to contribute a printed volume either on Chaney or a particular film, and London after Midnight seemed to present the opportunity to me.I really just didn't want it to be a rehash of everything that we had seen before or read before in other accounts or in the Famous Monsters of Filmland Magazine, but just with a new cover. So, I thought I would only do a book if I could really contribute a fresh new perspective on the subject, which I hope hopefully did.John: Oh, you absolutely did. And this is an exhaustive book and a little exhausting. There's a ton of stuff in here. You mentioned Famous Monster of the Filmland, which is where I first saw that image. There's at least one cover of the magazine that used that image. And Forrest Ackerman had some good photos and would use them whenever he could and also would compare them to Mark the Vampire, the remake, partially because I think Carol Borland was still alive and he could interview her. And he talked about that remake quite a bit. But that iconic image that he put on the cover and whenever he could in the magazine-- Jim and I were talking before you came on, Daniel, about in my mind when you think of Lon Chaney, there's three images that come to mind: Phantom of the Opera, Quasimoto, and this one. And I think this one, the Man in the Beaver hat probably is the most iconic of his makeups, because, 'cause it is, it's somehow it got adopted into the culture as this is what you go to when it's a creepy guy walking around. And that's the one that everyone remembers. Do you have any idea, specifically what his process was for making that look, because it, it is I think ultimately a fairly simple design. It's just really clever.Daniel: Yes, it probably does fall into the category of his more simplistic makeups. But, again, Chaney did a lot of things simplistic-- today --were never seen back then in say, 1927. Particularly in the Phantom of the Opera's case in 1925, in which a lot of that makeup today would be done through CG, in terms of trying to eliminate the nose or to make your lips move to express dialogue. Chaney was very fortunate to have lived in the pantomime era, where he didn't have to rely on how his voice would sound, trying to talk through those dentures, in which case the makeup would probably have to have been more tamed to allow audio recorded dialogue to properly come through.But with regards to the beaver hat makeup, he had thin wires that fitted around his eyes to give it a more hypnotic stare. The teeth, which he had constructed by a personal dentist, eventually had a wire attached to the very top that held the corners of his mouth, opening to a nice curved, fixated, almost joker like grin.You can imagine with the monocles around his eyes, he was thankful there probably wasn't that much wind on a closed set, because he probably couldn't have closed his eyes that many times. But a lot of these things become spoken about and detailed over time with mythic status. That he had to have his eyes operated on to achieve the constant widening of his eyelids. Or the teeth -- he could only wear the teeth for certain periods of time before accidentally biting his tongue or his lips, et cetera. But Chaney certainly wasn't a sadist, with himself, with his makeups. He was very professional. Although he did go through undoubtedly a lot of discomfort, especially probably the most, explicit case would be for the Hunchback of Notre Dame, in which his whole body is crooked down into a stooped position.But, with London After Midnight, I do highly suspect that the inspiration for that makeup in general came from the Dracula novel. And because MGM had not acquired the rights to the Dracula novel, unlike how Universal acquired the rights of the Hunchback or, more importantly, Phantom of the Opera, by which point Gaston Leroux was still alive.It was just a loose adaptation of Dracula. But nevertheless, when you read the description of Dracula in Bram Stoker's novel, he does bear a similarity to Chaney's vampire, in which it's the long hair, a mouth full of sharp teeth, a ghastly pale palor and just dressed all in black and carries around a lantern.Whereas Bela Lugosi takes extraordinary leaps and turns away from the Stoker novel. But it must have definitely had an impact at the time, enough for MGM to over-market the image of Chaney's vampire, which only appears in the film for probably just under four minutes, compared to his detective disguise, which is the real main character of the film.Although the thing we all wanna see is Cheney moving about as the vampire and what facial expressions he pulled. It's just something that we just want to see because it's Lon Chaney.John: Right. And it makes you wonder if he had lived and had gotten to play Dracula, he kind of boxed himself into a corner, then if he'd already used the look from the book, you wonder what he would've come up with, if Lugosi hadn't done it, and if Chaney had had been our first Dracula.Jim: You know, the other thing that I think of strictly like through my actor filter is here's a guy who -- take Hunchback or Phantom or even this thing -- whatever process he went through to put that makeup on, you know, was hours of work, I'm sure. Hunchback several hours of work to get to that, that he did himself, and then they'd film all day.So, on top of, I mean, I just think that that's like, wow, when you think about today where somebody might go into a makeup chair and have two or three people working on them to get the look they want. Even if it took a few hours, that person is just sitting there getting the makeup done. He's doing all of this, and then turns in a full day, uh, in front of the cameras, which to me is like, wow, that's incredible.Daniel: Definitely, it's like two jobs in one. I imagine for an actor it must be really grueling in adapting to a makeup, especially if it's a heavy makeup where it covers the whole of your head or crushes down your nose, changes your lips, the fumes of chemicals going into your eyes.But then by the end of it, I imagine you are quite exhausted from just your head adapting to that. But then you have to go out and act as well. With Chaney, I suppose he could be more of a perfectionist than take as much time as he wanted within reason. And then once he came to the grueling end of it all, he's actually gotta go out and act countless takes. Probably repair a lot of the makeup as well after, after a couple of takes, certainly with things like the Hunchback or the Phantom of the Opera.John: And, you know, it's not only is he doing the makeup and acting, but in, you know, not so much in London After Midnight, but in Phantom of the Opera, he is quite athletic. When the phantom moves, he really moves. He's not stooped. He's got a lot of energy to him and he's got a makeup on that, unlike the Quasimoto makeup, what he's attempting to do with the phantom is, reductive. He's trying to take things away from his face.Daniel: Mm-hmm.John: And he's using all the tricks he knows and lighting to make that happen, but that means he's gotta hit particular marks for the light to hit it just right. And for you to see that his face is as, you know, skull-like as he made it. When you see him, you know, in London After Midnight as the professor inspector character, he has got a normal full man's face. It's a real face. Much like his son, he had a kind of a full face and what he was able to do with a phantom and take all that away, and be as physical as he was, is just phenomenal. I mean, he was a really, besides the makeup, he was a really good actor.Daniel: Oh, definitely. Jim: I agree with that completely. I kind of in what I watched, I wonder if he was the makeup artist, but not the actor and he did exactly the same makeup on somebody else. And so we had the same image. If those things would've resonated with us the way they do today. I think it had everything to do with who he was and his abilities in addition to the incredible makeup. He was just a tremendous performer.Daniel: Absolutely. He was a true multitasker. In his early days of theater, he was not only an actor, but he was a choreographer. He had a lot of jobs behind the scenes as well. Even when he had become a star in his own time, he would still help actors find the character within them. like Norma Sheera, et cetera. People who were kind of new to the movie making scene and the directors didn't really have that much patience with young actors or actresses. Whereas Chaney, because of his clout in the industry, no one really interfered with Chaney's authority on set. But he would really help actors find the character, find the emotion, 'cause it was just all about how well you translate it over for the audience, as opposed to the actor feeling a certain way that convinces themselves that they're the character. Chaney always tried to get the emotions across to the audience. Patsy Ruth Miller, who played Esemerelda in in the Hunchback, said that Chaney directed the film more than the director actually did.The director was actually even suggested by Chaney. So, Chaney really had his hands everywhere in the making of a film. And Patsy Ruth Miller said the thing that she learned from him was that it's the actress's job to make the audience feel how the character's meant to be feeling, and not necessarily the actor to feel what they should be feeling based on the script and the settings and everything.So I think, that's why Chaney in particular stands out, among all of the actors of his time.John: I think he would've transitioned really well into sound. I think, he had everything necessary to make that transition.Jim: There's one sound picture with him in it, isn't there, doesn't he? Doesn't he play a ventriloquist? John: I believe so.Daniel: Yes, it was a remake of The Unholy Three that he had made in 1925 as Echo the ventriloquist, and the gangster. And yes, by the time MGM had decided to pursue talkies -- also, funny enough, they were one of the last studios to transition to, just because they were the most, one, probably the most dominant studio in all of Hollywood, that they didn't feel the pressure to compete with the burgeoning talkie revolution.So they could afford to take their time, they could release a talkie, but then they could release several silent films and the revenue would still be amazing for the studio. Whereas other studios probably had to conform really quick just because they didn't have the star system, that MGM shamelessly flaunted. And several Chaney films had been transitioned to sound at this point with or without Chaney. But for Chaney himself, because he himself was the special effect, it was guaranteed to be a winner even if it had been an original story that isn't as remembered today strictly because people get to hear the thing that's been denied them for all this time, which is Chaney's voice. And he would've transitioned very easily to talkies is because he had a very rich, deep voice, which, coming from theater, he had to have had, in terms of doing dialogue. He wasn't someone like a lot of younger actors who had started out predominantly in feature films who could only pantomime lines. Chaney actually knew how to deliver dialogue, so it did feel natural and it didn't feel read off the page.And he does about five voices in The Unholy Three. So MGM was truly trying to market, his voice for everything that they could. As Mrs. O'Grady, his natural voice, he imitates a parrot and a girl. And yeah, he really would've flourished in the sound era. Jim: Yeah. John: Any surprises, as it sounds like you were researching this for virtually your whole life, but were there any surprises that you came across, as you really dug in about the film?Daniel: With regards to London after Midnight, the main surprise was undoubtedly the -- probably the star chapter of the whole thing -- which is the nitrate frames from an actual destroyed print of the film itself, which sounds crazy to even being able to say it. But, yeah the nitrate frames themselves presented a quandary of questions that just sent me into a whole nother research mode trying to find out where these impossible images came from, who they belonged to, why they even existed, why they specifically existed.Because, looking for something that, you know, you are told doesn't exist. And then to find it, you kind of think someone is watching over you, planting this stuff as though it's the ultimate tease. To find a foreign movie poster for London After Midnight would be one thing, but to find actual pieces of the lost film itself. It was certainly the most out of body experience I've ever had. Just to find something that I set out to find, but then you find it and you still can't believe that you've actually found it.John: How did you find it?Daniel: I had connections with a few foreign archives who would befriend me and took to my enthusiasm with the silent era, and specifically Chaney and all the stars connected to Chaney films.And, quite early on I was told that there were a few photo albums that had various snippets of silent films from Chaney. They didn't really go into what titles these were, 'cause they were just all a jumble. All I knew is that they came from (garbled) widow. And he had acquired prints of the whole films from various, I suppose, junk stores in Spain.But not being a projectionist, he just purely took them at the face value that he just taken the images and snipping them up and putting them in photo albums, like how you would just do with photographs. And then the rest of the material was sadly discarded by fire. So, all we were left with were these snipped relics, survivors almost to several Chaney lost films. Some of them not lost, but there were films like The Phantom of the Opera in there, the Hunchback of Notre Dame, Mockery, The Unknown. But then there were several lost films such as London After Midnight, the Big City, Thunder. And All the Brothers were Valiant, which are mainly other than Thunder are all totally complete lost films.So, to find this little treasure trove, it was just finding out what the images meant and connecting them up, trying to put them in some sort of chronological scholarly order. Grueling, but it was very fun at the same time. And because I had identified myself with all of these surviving production stills from the film -- a lot of them, which formed the basis of the 2002 reconstruction by Turner Classic Movies -- it didn't take me too long to identify what scenes these surviving nitrate frames were from. But there were several frames which had sets that I recognized and costumes that I recognized, but in the photographic stills, they don't occupy the same space at the same time. So, it's like the two separate elements had crossed over. So that left me with a scholarly, question of what I was looking at. I was able to go back and, sort of rectify certain wrongs that have been accepted throughout the sixties as being the original, say, opening to London after Midnight. So I've, been able to disprove a few things that have made the film, I suppose, a bit more puzzling to audiences. Some audiences didn't really get what the plot was to begin with. So, it was nice to actually put a bit more order to the madness finally.John: At what point did you come across the original treatment and the script?Daniel: The treatment and the script, they came from a private collector who had bought them at auction a number of years ago who I was able to thankfully contact, and they still had the two documents in question. I had learned through Philip J Riley's previous books on London after Midnight that he had the two latter drafts of the script, the second edition and the third draft edition.And, again, the question of why and where. I just always wondered where that first draft of the script was, hoping it would contain new scenes, and open new questions for me and to study. And once I've managed to find those two documents, they did present a lot of new, perspectives and material that added to the fuller plot of the original hypnotist scenario, as opposed to the shortened, time efficient London After Midnight film that was ultimately delivered to audiences. So again, it helped to put a little bit more order to the madness.Jim: You found an actual piece of the film that you were able to, somebody got images from it? And then you found the scripts? But the images are terrific and they're all in your book. They came from what exactly?Daniel: The just below 20 images of the film came from originally a distribution print, a Spanish distribution print, from about 1928. Originally, they were on 35 millimeter indicating that they were from the studio and as is with a lot of silent films that have been found in foreign archives.Normally when a film is done with its distribution, it would have to be returned to the original studio to be destroyed, except for the original negative and a studio print, because there is no reason why a studio would need to keep the thousands of prints when they have the pristine copy in their vault. But, in a lot of smaller theater cases, in order to save money on the postage of the shipping, they would just basically declare that they had destroyed the film on the studio's behalf. There was no record system with this stuff and that's how a lot of these films ended up in the basements of old theaters, which are eventually when they closed, the assets were sold off to collectors or traveling showmen. And eventually these films found their ways into archives or again, private collections. Some of which people know what they have.A lot of times they don't know what they have because they're more obsessed with, naturally, more dedicated to preserving the films of their own culture that was shown at the time, as opposed to a foreign American title, which they probably assume they already have a copy of. But it's how a lot of these films get found.And, with the London After Midnight, example, there were the images that I found spanned the entire seven reels, because they came from different points in the film. It wasn't a single strip of film, of a particular scene. Having thankfully the main source that we have for London After Midnight is the cutting continuity, which is the actual film edited down shot for shot, length for length.And it describes, briefly, although descriptive enough, what is actually in each and every single shot of the film. And comparing the single frame images from the film with this document, I was able to identify at what point these frames came from during the film, which again spanned the entire seven reels, indicating that a complete seven reel version of the film had gotten out under the studio system at one point.As is the case, I'm assuming, 'cause these came from the same collection, I'm assuming it was the same with the other lost Chaney films that again, sadly only survive in snippet form.John: It's like somebody was a collector and his wife said, "well, we don't have room for all this. Just take the frames you like and we'll get rid of the rest of it." So, you mentioned in passing the 2002 reconstruction that Turner Classic Movies did using the existing stills. I don't know if they were working from any of the scripts or not. That was the version I originally saw when I was working on writing, those portions of The Misers Dream that mentioned London After Midnight. Based on what you know now, how close is that reconstruction and where do you think they got it right and where'd they get it wrong?Daniel: The 2002, reconstruction, while a very commendable production, it does stray from the original edited film script. Again, the problem that they clearly faced on that production is that there were not enough photographed scenes to convey all the photographed scenes from the film. So what they eventually fell into the trap of doing was having to reuse the same photograph to sometimes convey two separate scenes, sometimes flipping the image to appear on the opposite side of the camera. And, because of the certain lack of stills in certain scenes cases, they had to rewrite them.And sometimes a visual scene had to have been replaced with an inter-title card, merely describing what had happened or describing a certain period in time, as opposed to showing a photograph of what we're meant to be seeing as opposed to just reading. So, they did the best with what they had.But since then, there have been several more images crop up in private collections or in the archives. So, unless a version of the film gets found, it's certainly an endeavor that could be revisited, I think, and either do a new visual reconstruction of sort, or attempt some sort remake of the film even.Jim: That's an idea. John: They certainly have the materials to do that. I've got an odd question. There's one famous image, a still image from the film, showing Chaney as Professor Burke, and he is reaching out to the man in the beaver hat whose back is to us. Is that a promo photo? Spoiler alert, Burke is playing the vampire in the movie. He admits that that's him. So, he never would've met the character. What is the story behind that photo?Daniel: There are actually three photographs depicting that, those characters that you described. There are the two photographs which show Chaney in the Balfor mansion seemingly directing a cloaked, top hatted figure with long hair, with its back towards us. And then there is another photograph of Chaney in the man in the beaver hat disguise with a seemingly twin right beside him outside of a door.Basically the scenes in the film in which Chaney appear to the Hamlin residents, the people who are being preyed upon by the alleged vampires, the scenes where Chaney and the vampire need to coexist in the same space or either appear to be in the same vicinity to affect other characters while at the same time interrogating others, Chaney's character of Burke employs a series of assistants to either dress up as vampires or at certain times dress up as his version of the vampire to parade around and pretend that they are the man in the beaver hat. Those particular shots, though, the vampire was always, photographed from behind rather than the front.The very famous scene, which was the scene that got first got me interested in London After Midnight, in which the maidm played by Polly Moran is in the chair shrieking at Chaney's winged self, hovering over her. It was unfortunate to me to realize that that was actually a flashback scene told from the maid's perspective.And by the end of the film, the maid is revealed to be an informant of Burke, a secret detective also. So, it's really a strong suspension of disbelief has to be employed because the whole scene of Chaney chasing the maid through the house and appearing under the door, that was clearly just the MGMs marketing at work just to show Chaney off in a bizarre makeup with a fantastic costume.Whereas he is predominantly the detective and the scenes where he's not needed to hypnotize a character in the full vampire makeup, he just employs an assistant who parades around in the house as him, all the times with his back turned so that the audience can't latch on as to who the character actually is, 'cause it must have posed quite a fun confusion that how can Chaney be a detective in this room where the maid has just ran from the Vampire, which is also Chaney?John: Yeah, and it doesn't help that the plot is fairly convoluted anyway, and then you add that layer. So, do you think we'll ever see a copy of it? Do you think it's in a basement somewhere?Daniel: I've always personally believed that the film does exist. Not personally out of just an unfounded fanboy wish, but just based on the evidence and examples of other films that have been found throughout time. Metropolis being probably the most prominent case. But, at one point there was nothing on London After Midnight and now there is just short of 20 frames for the film. So, if that can exist currently now in the year 2023, what makes us think that more footage can't be found by, say, 2030? I think with fans, there's such a high expectation that if it's not found in their own lifetime or in their own convenience space of time, it must not exist. There's still a lot of silent lost treasures that just have not been found at all that do exist though. So, with London After Midnight, from a purely realistic standpoint, I've always theorized myself that the film probably does exist in an archive somewhere, but it would probably be a very abridged, foreign condensed version, as opposed to a pristine 35-millimeter print that someone had ripped to safety stock because they knew in the future the film would become the most coveted of all lost films. So, I do believe it does exist. The whole theory of it existing in a private collection and someone's waiting to claim the newfound copyright on it, I think after December of last year, I think it's finally put that theory to rest. I don't think a collector consciously knows they have a copy of it. So, I think it's lost until found personally, but probably within an archive.Jim: Lost until found. That's a great title for a book. I like that a lot. What do you think of the remake, Mark of the Vampire and in your opinion, what does it tell us about, London After Midnight?Daniel: Well, Mark of the Vampire came about again, part of the Sound Revolution. It was one of those because it was Chaney and Todd Browning's most successful film for the studio. And Browning was currently, being held on a tight leash by MGM because of his shocking disaster film Freaks, I suppose they were a little bit nervous about giving him the reign to do what he wanted again. So, looking through their backlog of smash silent hits, London After Midnight seemed the most logical choice to remake, just simply because it was their most, successful collaboration. Had it have been The Unholy Three, I'm sure? Oh no, we already had The Unholy Three, but had it have been another Browning Chaney collaboration, it might have been The Unknown, otherwise. So, I suppose that's why London After Midnight was selected and eventually turned into Mark of the Vampire. The story does not stray too much from London After Midnight, although they seem to complicate it a little bit more by taking the Burke vampire character and turning it this time into three characters played by three different actors, all of which happened to be in cahoots with one another in trying to solve an old murder mystery.It's very atmospherical. You can definitely tell it's got Todd Browning signature on it. It's more pondering with this one why they just did not opt to make a legit, supernatural film, rather than go in the pseudo vampire arena that they pursued in 1927. Where audiences had by now become accustomed to the supernatural with Dracula and Frankenstein in 1931, which no longer relied on a detective trying to find out a certain mystery and has to disguise themselves as a monster.The monster was actually now a real thing in the movies. So I think if Bela Lugosi had been given the chance to have played a real Count Mora as a real vampire, I think it would've been slightly better received as opposed to a dated approach that was clearly now not the fashionable thing to do.I suppose again, because Browning was treading a very thin line with MGM, I suppose he couldn't really stray too far from the original source material. But I find it a very atmospherical film, although I think the story works better as a silent film than it does as a sound film, because there's a lot of silent scenes in that film, away from owls, hooting and armadillos scurrying about and winds. But I do think, based on things like The Cat and The Canary from 1927 and The Last Warning, I just think that detective sleuth with horror overtones serves better to the silent world than it does the sound world away from the legit, supernatural.John: So, if Chaney hadn't died, do you think he would have played Dracula? Do you think he would've been in Freaks? Would Freaks have been more normalized because it had a big name in it like that?Daniel: It would've been interesting if Chaney had played in Freaks. I think because Todd Browning used the kinds of individuals that he used for Freaks, maybe Chaney would've, for a change, had been the most outta place.John: Mm-hmm.Daniel: I do think he might have played Dracula. I think Universal would've had a hell of a time trying to get him over because he had just signed a new contract with MGM, whereas Todd Browning had transferred over to Universal by 1930 and really wanted to make Dracula for many years and probably discussed it with Chaney as far back as 1920.But certainly MGM would not have permitted Chaney to have gone over to Universal, even for a temporary period, without probably demanding a large piece of the action, in a financial sense, because Universal had acquired the rights to Dracula at this point. And, based on the stage play that had, come out on Broadway, it was probably assured that it was going to be a giant moneymaker, based on the success of the Dracula play.But because of Cheney's, status as a, I suppose retrospectively now, as a horror actor, he was probably the first person to be considered for that role by Carl Laemmle, senior and Junior for that matter. And Chaney gone by 1930, it did pose a puzzle as to who could take over these kinds of roles.Chaney was probably the only one to really successfully do it and make the monster an actual box office ingredient more than any other actor at that time, as he did with. Phantom, Blind Bargain and London After Midnight. So, I think to have pursued Chaney for a legit, supernatural film would've had enormous possibilities for Browning and Chaney himself.You can kind of see a trend, a trilogy forming, with Browning, from London After Midnight, in which he incorporates things he used in Dracula in London After Midnight. So, he kind of had this imagery quite early on. So, to go from – despite it's not in that order -- but to have London After Midnight, Mark of the Vampire, and he also did Dracula, he clearly was obsessed with the story. And I think Chaney was probably the, best actor for someone like Browning who complimented his way of thinking and approach to things like silence. As opposed to needing dialogue all the time, loud commotions. So, I think they dovetailed each other quite well, and that's why their ten year director actor relationship was as groundbreaking as it was.Jim: If the film does surface, if we find the film, what do you think people, how are they gonna react to the movie when they see it? What do you think? What's gonna be the reaction if it does surface?Daniel: Well, the lure of London After Midnight, the power in the film is its lost status rather than its widespread availability. I think it could never live up to the expectation that we've built up in our heads over the past 40 to 60 years. It was truly people, fans like Forrest J Ackerman that introduced and reignited the interest in Chaney's career by the late fifties and 1960s. That's when London After Midnight started to make the rounds in rumor, the rumors of a potential print existing, despite the film had not long been destroyed at that point. So, it was always a big mystery. There were always people who wanted to see the film, but with no access to home video, or et cetera, the only way you could probably see the film would've been at the studio who held everything. And, by the time the TV was coming out, a lot of silent films didn't make it to TV. So again, it has just germinated in people's heads probably in a better form than what they actually remembered. But, the true reality of London After Midnight is one more closer to the ground than it is in it's people are probably expecting to see something very supernatural on par with Dracula, whereas it's more so a Sherlock Holmes story with mild horrorish overtones to it that you can kind of see better examples of later on in Dracula in 1930 and in Mark of the Vampire.It's a film purely, I think for Lon Chaney fans. For myself, having read everything I can on the film, everything I've seen on the film, I personally love silent, detective stories, all with a touch of horror. So, I personally would know what I am going in to see. I'm not going in to see Chaney battling a Van Helsing like figure and turn to dust at the very end or turning to a bat. I'm going to see a detective melodrama that happens to have what looks like a vampire. So, it certainly couldn't live up to the expectations in people's minds and it's probably the only film to have had the greatest cheapest, marketing in history, I would think. It's one of those films, if it was discovered, you really would not have to do much marketing to promote it.It's one of those that in every fanzine, magazine, documentary referenced in pop. It has really marketed itself into becoming what I always call the mascot of the genre. There are other more important lost films that have been lost to us. The main one again, which has been found in its more complete form, was Metropolis, which is a better movie.But unlike Metropolis, London After Midnight has a lot more famous ingredients to it. It has a very famous director. It has a very famous actor whose process was legendary even during then. And it's actually the only film in which he actually has his make-up case make a cameo appearance by the very end. And it goes on the thing that everyone in every culture loves, which is the vampirism, the dark tales and folklore. So, when you say it, it just gets your imagination going. Whereas I think if you are watching it, it's probably you'll be looking over the projector to see if something even better is going to happen.The film had its mixed reactions when it originally came out. People liked it because it gave them that cheap thrill of being a very atmospherical, haunted house with the creepy figures of Chaney walking across those dusty hallways. But then the more important story is a murder mystery.It's not Dracula, but it has its own things going for it. I always kind of harken it back to the search for the Lochness Monster or Bigfoot. It has more power in your mind than it does in an aquarium or in a zoo. Hearing someone say that they think they saw something moving around in Lochness, but there's no photographic evidence, you just have the oral story, that is much more tangible in a way than actually seeing it in an aquarium where you can take it for granted. And it's the same with London After Midnight, and I think that's why a lot of hoaxster and pranksters tend to say that they have seen London After Midnight more than any other lost film.Jim: For a film that I would say the majority of the world does not have any frame of reference, and I'm using myself as the sort of blueprint for that, no frame of reference for this film. That image is iconic in a way that has been, I mean, it at first glance could be Jack the Ripper. I was talking to John before we started the podcast, once I locked in on that image, then I started to think, oh, the ghosts in Disney's Haunted Mansion, there's a couple of ghosts that have elements of that. I mean, it was so perfectly done, even though we don't, I bet you nine out ten people don't know the title London After Midnight, but I bet you seven outta ten people know this image.Daniel: Definitely, it has certainly made its mark on pop culture, again, I think because I think it's such a beautiful, simplistic design. Everything from the simplistically [garbled] to the bulging eyes and the very nice top hat as well, which is in itself today considered a very odd accessory for a grotesque, vampire character.But it's one of those things that has really carried over. It's influenced what the movies and artists. It was one of the influences for the Babadook creation for that particular monster. It was an influence on the Black Phone. It's just a perfect frame of reference for movie makers and sculptors and artists to keep taking from.John: Yep. It's, it'll live long beyond us. Daniel, one last question. I read somewhere or heard somewhere. You're next gonna tackle James Whale, is that correct? Daniel: James Whale is a subject, again, coming from, I happen to come from the exact same town that he was born and raised in, in Dudley, England. So, it's always been a subject close to home for me, which is quite convenient because I love his movies. So, I'm hoping to eventually, hopefully plan a documentary feature on him, based on a lot of family material in the surrounding areas that I was able to hunt down, and forgotten histories about him and just put it together in some form, hopefully in the future.John: That would be fantastic, and we'll have you back at that point.Jim: So, let's pretend for a minute that the audience is me, and they'd have absolutely no idea who James Whale is or what he's done. Just for a minute, let's pretend.John: Pretend that you don't know that?Jim: Yeah.Daniel: James Whale is the most known for his work for directing Frankenstein with Boris Karloff in 1931. But he also directed probably some of the most important horror films that have ever existed in the history of motion pictures. The Old Dark House, which can be cited with its very atmospherical, and black comedy tones, The Invisible Man with Claude Rains and Gloria Stewart in 1933. And, the most important one, which is probably the grand jewel in the whole of the Universal Monsters Empire, which is Bride of Frankenstein in 1935, which is the ultimate, example of everything that he had studied, everything that he'd learned with regards to cinema and comedy, life and death, and just making a very delicious cocktail of a movie in all of its black comedy, horrific, forms that we're still asking questions about today. One of his first films that he did was for Howard Hughes Hell's Angels, in which -- because he'd coming over from theater -- when again, films in America were taken off with the sound revolution. They all of a sudden needed British directors to translate English dialogue better than the actors could convey.So, James Whale was one of many to be taken over to America when he had a hit play called Journeys End, which became the most successful war play at that point. And he did his own film adaptation of Journeys End. He also did a really remarkable film called Showboat, which is another very iconic film.And again, someone with James Whale's horror credentials, you just think, how could someone who directed Frankenstein directed Showboat? But, clearly a very, very talented director who clearly could not be pigeonholed at the time as a strictly horror director, despite it is the horror films in which he is remembered for, understandably so, just because they contain his very individualistic wit and humor and his outlooks on life and politics. And being an openly gay director at the time, he really was a force unto himself. He was a very modern man even then.

May is National Foster Care month! To encourage adoption, we're highlighting some of the most famous fictional orphans from English & French literature. Check out what we talked about: Books mentioned: "Jane Eyre" by Charlotte Brontë with readalike "Great Expectations" by Charles Dickens. The series "A Series of Unfortunate Events" by Lemony Snicket with readalike "The Graveyard Book" by Neil Gaiman. "Matilda" by Roald Dahl. "Ella Enchanted" by Gail Carson Levine with readalike "The Secret Garden" by Frances Hodgson Burnett. "The Phantom of the Opera" by Gaston Leroux. "The Lord of the Rings" series by J.R.R. Tolkien with readalike series "Mistborn" by Brandon Sanderson. Visit dcf.wisconsin.gov/fostercare/become to get more information about becoming a foster parent. To access complete transcripts for all episodes of Not Your Mother's Library, please visit: oakcreeklibrary.org/podcast Check out books, movies, and other materials through the Milwaukee County Federated Library System: countycat.mcfls.org hoopladigital.com wplc.overdrive.com oakcreeklibrary.org

durée : 00:09:59 - Les Nuits de France Culture - par : Philippe Garbit - Le 16 avril 1957, Gabriel Reuillard sur la Chaîne Nationale, pour "Heure de culture française", commémorait le 30ème anniversaire de la mort de Gaston Leroux. Il dressait un portrait détaillé de l'auteur du "Mystère de la chambre jaune".

We just couldn't help ourselves this week! Much love for Phantom of the Opera as depicted over the past century plus, and even more admiration for Hammer films in general. This week's episode is a little longer. We said we weren't going to go into comparing the different films and stage productions to the Gaston Leroux novel, but yeah . . .we did! Some great Hammer alum throughout this one that is light on kills but still fun. Enjoy (and leave those rats alone!)

Watch/Listen to this and all episodes ad free by joining the ITBR Patreon for only $5 a month! ⁠⁠⁠⁠⁠⁠⁠⁠⁠patreon.com/ivorytowerboilerroom⁠⁠ Dr. Andrew Israel Ross, a historian specializing in European history and the history of sexuality enters the ITBR to discuss his first book “Public City/Public Sex: Homosexuality, Prostitution, and Urban Culture in Nineteenth-Century Paris” where he details the vast modernization efforts in Paris during the enlightenment era that opened the door for a rising gay and lesbian subculture as well as opportunities for women who sold sex and men who sought sex with other men. Dr. Ross opens up about our impulse to find ourselves in the past but emphasizes that understanding historical context can be just as useful. Dr. Ross details the Marquis de Sade's salacious material that helped spread outrageous rumors about Marie Antoinette during her reign. Finally, Dr. Ross links the connection between “19th century queer life” and “the life of working-class women” and wonders if a less constrained sexual politics could arise. Dr. Ross and Andrew discuss the roles of various French historical figures such as: Voltaire, Diderot, the Marquis de Sade, Marie Antoinette, Napoleon, Victor Hugo, Gaston Leroux, Andre Gide, Marcel Proust, Colette, and Jean Genet in this episode and how they've all helped shaped French history and literature in interesting ways. To learn more about Andrew's work or to contact him visit, https://www.andrewisraelross.com/ To order Andrew's book "Public City/Public Sex Homosexuality, Prostitution, and Urban Culture in Nineteenth-Century Paris" visit, https://tupress.temple.edu/books/public-city-public-sex Be sure to follow The SoapBox on IG, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@thesoapboxny⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and TikTok, ⁠⁠⁠⁠⁠⁠@thesoapboxny⁠⁠⁠⁠⁠⁠ and call or message them to get your hands on their Four For Fall products! To subscribe to The Gay and Lesbian Review visit ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠glreview.org⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Click Subscribe, and enter promo code ITBR50 to receive 50% off any print or digital subscription. Follow them on IG, ⁠⁠⁠⁠⁠⁠@theglreview⁠⁠⁠⁠⁠⁠. Head to Broadview Press, an independent academic publisher, for all your humanities related books. Use code ivorytower for 20% off your⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ broadviewpress.com ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠order. Follow them on IG, ⁠⁠⁠⁠⁠⁠@broadviewpress⁠⁠⁠⁠⁠⁠. Order and follow ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@mandeemadeit⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (on IG) mention ITBR, and with your first order you'll receive a free personalized gift! Follow That Ol' Gay Classic Cinema on IG, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@thatolgayclassiccinema⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and listen here: ⁠⁠⁠⁠⁠⁠https://podcasts.apple.com/us/podcast/that-ol-gay-classic-cinema/id1652125150⁠⁠⁠⁠⁠⁠ Follow ITBR on IG, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@ivorytowerboilerroom⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, TikTok, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@ivorytowerboilerroom⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, and X, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@IvoryBoilerRoom⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠! Thanks to the ITBR team! ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Andrew Rimby⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (Host/Director), ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Mary DiPipi⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (Chief Contributor), and our Fall 23 interns (Jonathan and Sara) --- Send in a voice message: https://podcasters.spotify.com/pod/show/ivorytowerboilerroom/message Support this podcast: https://podcasters.spotify.com/pod/show/ivorytowerboilerroom/support

Lee GoldbergMalibu Burning Show NotesToday we talked with our old friend Lee Goldberg about his bool Malibu Burning. It is the first in hisnew seriues featuring arson investigators Walter Sharpe and Andrew Walker. It is published by Thomas &Mercer and was released on September 1 of this year.Hell comes to Southern California every October. It rides in on searing Santa Ana winds that blast at nearhurricane force, igniting voracious wildfires. Master thief Danny Cole longs for the flames. A tsunami of fire isexactly what he needs to pull off a daring crime and avenge a fallen friend.As the most devastating firestorms in Los Angeles' history scorch the hills of Malibu, relentless arsoninvestigator Walter Sharpe and his wild card of a new partner, Andrew Walker, a former US marshal, suspectthat someone set the massive blazes intentionally, a terrifying means to an unknown end.While the flames rage out of control, Danny pursues his brilliant scheme, unaware that Sharpe and Walker areclosing in. But when they all collide in a canyon of fire, everything changes, pitting them against anunexpected enemy within an inescapable inferno.TRIVIALast week's question was:John Dickinson Carr is famous for writing what?a. The most re-issued mysteriesb. Mysteries with hints given throughout the storyc. Impossible mysteries or locked room mysteriesd. First person mysteries.The answer is c. Impossible or locked room mysteries. John Dickinson Carr is credited with writing the first“impossible” mystery, Carr is generally regarded as one of the greatest writers of so-called "Golden Age"mysteries; complex, plot-driven stories in which the puzzle is paramount. He was influenced in this regard bythe works of Gaston Leroux and by the Father Brown stories of G. K. Chesterton. He was a master of the so-called locked room mystery, in which a detective solves apparently impossible crimes. The Dr. Fellmystery The Hollow Man (1935), usually considered Carr's masterpiece, was selected in 1981 as the bestlocked-room mystery of all time by a panel of 17 mystery authors and reviewers.[1] He also wrote a number ofhistorical mysteries.This week's question is:Which mystery author used the psynonym Mark Sadler, John Crowe, Carl Dekker and William Arden?a. Dan Brownb. John Grishamc. Mickey Spillaned. Michael CollinsTune in next week for the answer.

It's SPOOKY MONTH! Join Sam and Katie as we adventure into the catacombs of Paris with "The Phantom of the Opera." We will cover both the 1909 Gaston Leroux novel and the 2004 movie-musical based on Andrew Lloyd Weber's beloved 1986 broadway musical.  Want us to cover something specific? Tweet us @AllentownPod  Want to connect another way? Find us on Facebook @AllentownPresents Have questions or comments too extensive for social media? Email us at AllentownPresents@gmail.com 

Episode 240 - Goosebumps (TV Series)   It's that time of the year again: the soft opening of Monstober 2023!  And as we do every year, we kick things off with another discussion of the Goosebumps television show.  This time, there're phantoms, dummies, and Star Wars references.  But which came first, Gaston Leroux, Wishbone, or Goosebumps?  Can we get on the Fractured Families television show?  Did Clint Howard deserve the final MTV Lifetime Achievement award?  Listen in to Rob & Zack putting another few drops in the bucket in the entirety of Goosebumps to find out!   Support the podcast and get access to many more episodes by subscribing to the Cinemoddities patreon at www.patreon.com/Cinemoddities    Submit your Fractured Families videos and harass us by email at Cinemoddities@gmail.com   Thank you to An Insperiority Complex for providing our theme song!  Follow this link to hear more music from them: https://open.spotify.com/artist/4mPues3Rp2wCKYzXOTDNP9?si=7XONs7MQT4uzU5TqnY2tsQ 

durée : 01:05:00 - Les Nuits de France Culture - par : Albane Penaranda - Dans l'émission "Bon voyage" le 7 juin 1961 sur Paris Inter, Georges Simenon racontait ses débuts de journaliste puis d'écrivain au micro de Max Favalelli. Imaginaire le voyage de Georges Simenon ? Assurément... dans l'émission "Bon voyage" en 1961. Il s'agissait d'un jeu radiophonique dans lequel il fallait reconstituer le voyage fait par l'invité du jour. Exception fut faite à la règle ce jour-là avec l'écrivain Georges Simenon. Il raconta sa vie et ses débuts d'écrivain. Ses propos étaient illustrés par des lectures d'extraits de ses romans. Le fil conducteur de l'entretien, un voyage dans la vie de Simenon, était fait à travers l'évocation de sa première pipe puis d'une autre, et encore une autre, chacune étant liée à un épisode de sa vie. * Avec son ami Max Favalelli, Georges Simenon revenait sur ses débuts de journaliste, puis d'écrivain. Il évoquait son accoutumance à la pipe ; ses débuts à la Gazette de Liège très jeune : "Probablement parce que je venais de lire Rouletabille de Gaston Leroux l'idée m'est venue : pourquoi ne pas devenir reporter ?» Puis il racontait son arrivée à Paris, sa première nuit près de la place de Clichy dans une petite chambre mansardée. Il expliquait comment il avait décidé d'écrire des "petits romans populaires", il évoquait sa découverte de la France en canoë, sa vie familiale, etc... Par Jacques Floran et Max Favalelli Réalisation Gérard Herzog Bon voyage - Georges Simenon (1ère diffusion : 07/06/1961 Paris Inter) Indexation web : Sandrine England, documentation sonore de Radio France Archive Ina-Radio France

durée : 00:20:58 - Les Nuits de France Culture - par : Albane Penaranda - En l'an 2000, Philippe Langlois proposait aux auditeurs de "Carnet de notes" de revisiter la magistrale BO de "Phantom of the Paradise", signée par Paul Williams et George Aliceson Tipton pour Brian De Palma, vingt-cinq ans plus tôt. En l'an 2000, Philippe Langlois proposait aux auditeurs de "Carnet de notes" de revisiter la magistrale BO de "Phantom of the Paradise", signée par Paul Williams et George Aliceson Tipton pour Brian De Palma, vingt-cinq ans plus tôt. Au mois de février 1975, sortait sur les écrans français Phantom of the Paradise, réalisé par Brian De Palma.  * Ce film ouvrait une période qui verra fleurir des films musicaux "rock", dits "Opéra Rock". Inspiré par le roman de Gaston Leroux, Le Fantôme de l'Opéra, Brian De Palma abordait là, pour la première fois, le genre fantastique.  De Palma fit appel à Paul Williams pour composer la musique de ce film (et à George Aliceson Tipton pour les instrumentaux additionnels), mais aussi pour y tenir le rôle de Swan, personnage central de cette histoire faustienne. Chanteur, auteur, acteur à de multiples occasions, compositeur de tubes qui firent le tour du monde dans les années 60/70 et de nombreuses musiques de films, Paul Williams, avec Phantom of the Paradise, trouvait l'occasion de démontrer l'étendue de son talent en proposant en quelque sorte un voyage musical passant par tous les genres de la musique populaire des années 50 aux années 70.  En l'an 2000 sur France Culture, Philippe Langlois proposait aux auditeurs de Carnet de notes de revisiter la magistrale BO de Phantom of the Paradise, signée par Paul Williams pour De Palma, vingt-cinq ans plus tôt.  Avec la musique de Paul Williams pour le film "Phantom of the Paradise" de Brian De Palma et les instrumentaux additionnels de George Aliceson Tipton. Par Philippe Langlois Réalisation : Gilles Mardirossian Carnet de notes - "Phantom of the Paradise" de Brian De Palma (1ère diffusion : 14/06/2000) Indexation web : Sandrine England, Documentation Sonore de Radio France Archive INA-Radio France

" ""The Phantom of the Opera"" played its final show at the Majestic Theater in New York, ending its 35-year run on Broadway. The story is based on a novel by Gaston Leroux. Composer Andrew Lloyd Webber made it legendary with the musical adaptation, which has been performed in 182 cities in 17 languages. Plus, learn the English expression ""set the stage."" -- At Plain English, we make English lessons for the modern world. -- Today's full English lesson, including a free transcript, can be found at: https://plainenglish.com/571 -- Learning English should be fun! That's why our lessons are about current events and trending topics you care about: business, travel, technology, health, science, politics, the environment, and so much more. Our free English lessons always include English expressions and phrasal verbs, too. -- Learn even more English at PlainEnglish.com, where we have fast and slow audio, translations, videos, online English courses, and a supportive community of English learners like you. Sign up free at PlainEnglish.com/Join -- Aprende inglés gratis en línea con nuestro curso de inglés. Se habla a una velocidad lenta para que todos entiendan. ¡Aprende ingles con nosotros ahora! | Aprenda Inglês online grátis com o Plain English, a uma velocidade menor, para que todos possam entender. Contact: E-mail jeff@plainenglish.com | WhatsApp +1 312 967 8757 | Facebook PlainEnglishPod | Instagram PlainEnglishPod | Twitter @PlainEnglishPod "

It's Dylan's turn to pitch a movie, and he's unmasking a new take on The Phantom of the Opera! One of the most unlikely Universal Monsters is also one of the oldest, dating back to a 1925 silent film starring Lon Cheney, Sr. But can any modern retelling of the Gaston Leroux novel escape the gravity of Andrew Lloyd Weber's musical adaptation? Should it? Oh, have we got some surprises in store for you this week... Our podcast partner for this episode is The Mirror Universe Star Trek Podcast, a thoughtful program in which an Australian and a Canadian have a conversation about Star Trek: what we think it is, how it's evolved over the years, and how it reflects our culture...like a mirror. Dylan has become a regular panelist on this show, so if you're not tired of hearing this guy talk, here's where you can find some more. You can support Dylan & Dalton's creative pursuits by subscribing to their Patreon, Are You Afraid of Dylan & Dalton? Contact us at Twitter or Instagram @DarkUniversePod or email us at darkuniversepod@gmail.com, you can also leave us a voicemail at US ‪(917) 819-2574‬! Special thanks to Ella Dawson, Izzy Hodnett, Steph Salo, and Joe Stando for their contributions to this episode.

THE PHANTOM OF THE OPERA  Music by Andrew Lloyd Webber | Lyrics by Charles Hart | Additional Lyrics by Richard Stilgoe | Book by Richard Stilgoe & Andrew Lloyd Webber | Based on the novel Le Fantome de  l'Opera by Gaston Leroux | Originally Directed by Harold Prince | Orchestrations by David Cullen & Andrew Lloyd Webber | Original Production by Cameron Mackintosh Ltd. and The Really Useful Group Ltd. Works Consulted & Reference :The Phantom of the Opera (Original Libretto) by Andrew Lloyd Webber, Charles Hart, and Richard StilgoeSense of Occasion by Harold PrinceUnmasked by Andrew Lloyd WebberRazzle Dazzle by Michael ReidelThe Complete Phantom of the Opera by George PerryMusic Credits:"Overture" from Dear World (Original Broadway Cast Recording)  | Music by Jerry Herman | Performed by Dear World Orchestra & Donald Pippin"The Speed Test" from Thoroughly Modern Millie  (Original Broadway Cast Recording) | Music by Jeanine Tesori, Lyrics by Dick Scanlan | Performed by Marc Kudisch, Sutton Foster, Anne L. Nathan & Ensemble"Why God Why" from Miss Saigon: The Definitive Live Recording  (Original Cast Recording  / Deluxe)  | Music by Claude-Michel Schönberg, Lyrics by Alain Boublil & Richard Maltby Jr.  | Performed by Alistair Brammer"Back to Before" from Ragtime: The Musical (Original Broadway Cast Recording)  | Music by Stephen Flaherty, Lyrics by Lynn Ahrens | Performed by Marin Mazzie"Chromolume #7 / Putting It Together" from Sunday in the Park with George (Original Broadway Cast Recording)  | Music & Lyrics by Stephen Sondheim | Performed by Mandy Patinkin, Bernadette Peters, Judith Moore, Cris Groenendaal, Charles Kimbrough, William Parry, Nancy Opel, Robert Westenberg, Dana Ivey, Kurt Knudson, Barbara Bryne"What's Inside" from Waitress (Original Broadway Cast Recording)  | Music & Lyrics by Sara Bareilles | Performed by Jessie Mueller & Ensemble"The Music of the Night” from  The Phantom of the Opera (Original London Cast Recording) | Music by Andrew Lloyd Webber | Lyrics by Charles Hart | Additional Lyrics by Richard Stilgoe | Performed by Andrew Lloyd Webber, Phantom of the Opera Original London Cast, Michael Crawford"Maria" from The Sound of Music (Original Soundtrack Recording)  | Music by Richard Rodgers, Lyrics by Oscar Hammerstein II | Performed by Evadne Baker, Anna Lee, Portia Nelson, Marni Nixon"My Favorite Things" from The Sound of Music (Original Soundtrack Recording) | Music by Richard Rodgers, Lyrics by Oscar Hammerstein II | Performed by Julie Andrews"Corner of the Sky" from Pippin (New Broadway Cast Recording) | Music & Lyrics by Stephen Schwartz | Performed by Matthew James Thomas“What Comes Next?” from Hamilton (Original Broadway Cast Recording) | Music & Lyrics by Lin-Manuel Miranda | Performed by Jonathan Groff

Tonight, I'll be reading The Extraordinary Adventures of Arsène Lupin: Madame Imbert's Safe by Gaston Leroux. Welcome to Send Me To Sleep, the World's sleepiest podcast, designed to help you fall asleep through relaxing stories and hypnotic meditation. If you find this podcast effective, please consider subscribing, so you can stay up-to-date with new weekly episodes and fall asleep consistently, each night. Enjoying the show? Leave us a rating and review: Apple Podcasts - Spotify Sign up for our newsletter to stay up-to-date on all of the sleepiest news: https://sendmetosleep.com/podcast/ Visit our website: Send Me To Sleep - World's Sleepiest Website Follow us on Instagram: https://www.instagram.com/sendmetosleepco/ Do not listen to this sleep story whilst driving or operating machinery. Please only listen to the Send Me To Sleep podcast in a safe place where you can relax and fall asleep.

Tonight, I'll be reading The Extraordinary Adventures of Arsène Lupin: Madame Imbert's Safe by Gaston Leroux.  Welcome to Send Me To Sleep, the World's sleepiest podcast, designed to help you fall asleep through relaxing stories and hypnotic meditation. If you find this podcast effective, please consider subscribing, so you can stay up-to-date with new weekly episodes and fall asleep consistently, each night. Enjoying the show? Leave us a rating and review: Apple Podcasts - Spotify Sign up for our newsletter to stay up-to-date on all of the sleepiest news: https://sendmetosleep.com/podcast/ Visit our website: Send Me To Sleep - World's Sleepiest Website Follow us on Instagram: https://www.instagram.com/sendmetosleepco/ Do not listen to this sleep story whilst driving or operating machinery. Please only listen to the Send Me To Sleep podcast in a safe place where you can relax and fall asleep.

Tonight, I'll be reading The Phantom of the Opera: Final Chapters by Gaston Leroux. Welcome to Send Me To Sleep, the World's sleepiest podcast, designed to help you fall asleep through relaxing stories and hypnotic meditation. If you find this podcast effective, please consider subscribing, so you can stay up-to-date with new weekly episodes and fall asleep consistently, each night. Enjoying the show? Leave us a rating and review: Apple Podcasts - Spotify Sign up for our newsletter to stay up-to-date on all of the sleepiest news: https://sendmetosleep.com/podcast/ Visit our website: Send Me To Sleep - World's Sleepiest Website Follow us on Instagram: https://www.instagram.com/sendmetosleepco/ Do not listen to this sleep story whilst driving or operating machinery. Please only listen to the Send Me To Sleep podcast in a safe place where you can relax and fall asleep.

Tonight, I'll be reading The Phantom of the Opera: Final Chapters by Gaston Leroux.  Welcome to Send Me To Sleep, the World's sleepiest podcast, designed to help you fall asleep through relaxing stories and hypnotic meditation. If you find this podcast effective, please consider subscribing, so you can stay up-to-date with new weekly episodes and fall asleep consistently, each night. Enjoying the show? Leave us a rating and review: Apple Podcasts - Spotify Sign up for our newsletter to stay up-to-date on all of the sleepiest news: https://sendmetosleep.com/podcast/ Visit our website: Send Me To Sleep - World's Sleepiest Website Follow us on Instagram: https://www.instagram.com/sendmetosleepco/ Do not listen to this sleep story whilst driving or operating machinery. Please only listen to the Send Me To Sleep podcast in a safe place where you can relax and fall asleep.

Tonight, I'll be reading The Phantom of the Opera: Chapter 24 & 25 by Gaston Leroux. Welcome to Send Me To Sleep, the World's sleepiest podcast, designed to help you fall asleep through relaxing stories and hypnotic meditation. If you find this podcast effective, please consider subscribing, so you can stay up-to-date with new weekly episodes and fall asleep consistently, each night. Enjoying the show? Leave us a rating and review: Apple Podcasts - Spotify Sign up for our newsletter to stay up-to-date on all of the sleepiest news: https://sendmetosleep.com/podcast/ Visit our website: Send Me To Sleep - World's Sleepiest Website Follow us on Instagram: https://www.instagram.com/sendmetosleepco/ Do not listen to this sleep story whilst driving or operating machinery. Please only listen to the Send Me To Sleep podcast in a safe place where you can relax and fall asleep.

Tonight, I'll be reading The Phantom of the Opera: Chapter 24 & 25 by Gaston Leroux. Welcome to Send Me To Sleep, the World's sleepiest podcast, designed to help you fall asleep through relaxing stories and hypnotic meditation. If you find this podcast effective, please consider subscribing, so you can stay up-to-date with new weekly episodes and fall asleep consistently, each night. Enjoying the show? Leave us a rating and review: Apple Podcasts - Spotify Sign up for our newsletter to stay up-to-date on all of the sleepiest news: https://sendmetosleep.com/podcast/ Visit our website: Send Me To Sleep - World's Sleepiest Website Follow us on Instagram: https://www.instagram.com/sendmetosleepco/ Do not listen to this sleep story whilst driving or operating machinery. Please only listen to the Send Me To Sleep podcast in a safe place where you can relax and fall asleep.

Tonight, I'll be reading The Phantom of the Opera: Chapter 22 & 23 by Gaston Leroux. Welcome to Send Me To Sleep, the World's sleepiest podcast, designed to help you fall asleep through relaxing stories and hypnotic meditation. If you find this podcast effective, please consider subscribing, so you can stay up-to-date with new weekly episodes and fall asleep consistently, each night. Enjoying the show? Leave us a rating and review: Apple Podcasts - Spotify Sign up for our newsletter to stay up-to-date on all of the sleepiest news: https://sendmetosleep.com/podcast/ Visit our website: Send Me To Sleep - World's Sleepiest Website Follow us on Instagram: https://www.instagram.com/sendmetosleepco/ Do not listen to this sleep story whilst driving or operating machinery. Please only listen to the Send Me To Sleep podcast in a safe place where you can relax and fall asleep.

Tonight, I'll be reading The Phantom of the Opera: Chapter 22 & 23 by Gaston Leroux.  Welcome to Send Me To Sleep, the World's sleepiest podcast, designed to help you fall asleep through relaxing stories and hypnotic meditation. If you find this podcast effective, please consider subscribing, so you can stay up-to-date with new weekly episodes and fall asleep consistently, each night. Enjoying the show? Leave us a rating and review: Apple Podcasts - Spotify Sign up for our newsletter to stay up-to-date on all of the sleepiest news: https://sendmetosleep.com/podcast/ Visit our website: Send Me To Sleep - World's Sleepiest Website Follow us on Instagram: https://www.instagram.com/sendmetosleepco/ Do not listen to this sleep story whilst driving or operating machinery. Please only listen to the Send Me To Sleep podcast in a safe place where you can relax and fall asleep.

Tonight, I'll be reading The Phantom of the Opera: Chapter 21 by Gaston Leroux. Welcome to Send Me To Sleep, the World's sleepiest podcast, designed to help you fall asleep through relaxing stories and hypnotic meditation. If you find this podcast effective, please consider subscribing, so you can stay up-to-date with new weekly episodes and fall asleep consistently, each night. Enjoying the show? Leave us a rating and review: Apple Podcasts - Spotify Sign up for our newsletter to stay up-to-date on all of the sleepiest news: https://sendmetosleep.com/podcast/ Visit our website: Send Me To Sleep - World's Sleepiest Website Follow us on Instagram: https://www.instagram.com/sendmetosleepco/ Do not listen to this sleep story whilst driving or operating machinery. Please only listen to the Send Me To Sleep podcast in a safe place where you can relax and fall asleep.

Tonight, I'll be reading The Phantom of the Opera: Chapter 21 by Gaston Leroux. Welcome to Send Me To Sleep, the World's sleepiest podcast, designed to help you fall asleep through relaxing stories and hypnotic meditation. If you find this podcast effective, please consider subscribing, so you can stay up-to-date with new weekly episodes and fall asleep consistently, each night. Enjoying the show? Leave us a rating and review: Apple Podcasts - Spotify Sign up for our newsletter to stay up-to-date on all of the sleepiest news: https://sendmetosleep.com/podcast/ Visit our website: Send Me To Sleep - World's Sleepiest Website Follow us on Instagram: https://www.instagram.com/sendmetosleepco/ Do not listen to this sleep story whilst driving or operating machinery. Please only listen to the Send Me To Sleep podcast in a safe place where you can relax and fall asleep.

Tonight, I'll be reading The Phantom of the Opera: Chapter 20 by Gaston Leroux. Welcome to Send Me To Sleep, the World's sleepiest podcast, designed to help you fall asleep through relaxing stories and hypnotic meditation. If you find this podcast effective, please consider subscribing, so you can stay up-to-date with new weekly episodes and fall asleep consistently, each night. Enjoying the show? Leave us a rating and review: Apple Podcasts - Spotify Sign up for our newsletter to stay up-to-date on all of the sleepiest news: https://sendmetosleep.com/podcast/ Visit our website: Send Me To Sleep - World's Sleepiest Website Follow us on Instagram: https://www.instagram.com/sendmetosleepco/ Do not listen to this sleep story whilst driving or operating machinery. Please only listen to the Send Me To Sleep podcast in a safe place where you can relax and fall asleep.

Tonight, I'll be reading The Phantom of the Opera: Chapter 20 by Gaston Leroux.  Welcome to Send Me To Sleep, the World's sleepiest podcast, designed to help you fall asleep through relaxing stories and hypnotic meditation. If you find this podcast effective, please consider subscribing, so you can stay up-to-date with new weekly episodes and fall asleep consistently, each night. Enjoying the show? Leave us a rating and review: Apple Podcasts - Spotify Sign up for our newsletter to stay up-to-date on all of the sleepiest news: https://sendmetosleep.com/podcast/ Visit our website: Send Me To Sleep - World's Sleepiest Website Follow us on Instagram: https://www.instagram.com/sendmetosleepco/ Do not listen to this sleep story whilst driving or operating machinery. Please only listen to the Send Me To Sleep podcast in a safe place where you can relax and fall asleep.

Tonight, I'll be reading The Phantom of the Opera: Chapters 18 & 19 by Gaston Leroux Welcome to Send Me To Sleep, the World's sleepiest podcast, designed to help you fall asleep through relaxing stories and hypnotic meditation. If you find this podcast effective, please consider subscribing, so you can stay up-to-date with new weekly episodes and fall asleep consistently, each night. Enjoying the show? Leave us a rating and review: Apple Podcasts - Spotify Sign up for our newsletter to stay up-to-date on all of the sleepiest news: https://sendmetosleep.com/podcast/ Visit our website: Send Me To Sleep - World's Sleepiest Website Follow us on Instagram: https://www.instagram.com/sendmetosleepco/ Do not listen to this sleep story whilst driving or operating machinery. Please only listen to the Send Me To Sleep podcast in a safe place where you can relax and fall asleep.

Tonight, I'll be reading The Phantom of the Opera: Chapters 18 & 19 by Gaston Leroux Welcome to Send Me To Sleep, the World's sleepiest podcast, designed to help you fall asleep through relaxing stories and hypnotic meditation. If you find this podcast effective, please consider subscribing, so you can stay up-to-date with new weekly episodes and fall asleep consistently, each night. Enjoying the show? Leave us a rating and review: Apple Podcasts - Spotify Sign up for our newsletter to stay up-to-date on all of the sleepiest news: https://sendmetosleep.com/podcast/ Visit our website: Send Me To Sleep - World's Sleepiest Website Follow us on Instagram: https://www.instagram.com/sendmetosleepco/ Do not listen to this sleep story whilst driving or operating machinery. Please only listen to the Send Me To Sleep podcast in a safe place where you can relax and fall asleep.

In this voice-only bonus episode, i'll be reading The Phantom of The Opera: Chapters 14 & 15 by Gaston Leroux Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.

Welcome to Send Me To Sleep, the World's sleepiest podcast, designed to help you fall asleep through relaxing stories and hypnotic meditation. In this episode, I'll be reading The Phantom of The Opera: Chapter 13 by Gaston Leroux. If you find this podcast effective, please consider subscribing, so you can stay up-to-date with new weekly episodes and fall asleep consistently, each night. Access to over 200 unreleased episodes: https://sendmetosleep.com/premium/Visit our website: https://sendmetosleep.com/ Follow us on Instagram: https://www.instagram.com/sendmetosleepco/ Do not listen to this sleep story whilst driving or operating machinery. Please only listen to the Send Me To Sleep podcast in a safe place where you can relax and fall asleep. Send Me To Sleep accepts no responsibility or liability for any injury, loss or damage because of this recording. See acast.com/privacy for privacy and opt-out information. Become a member at https://plus.acast.com/s/send-me-to-sleep-podcast.