Podcasts about Jonathan Harker

It's that time of year when our good friend Jonathan Harker takes a trip to Transylvania, and in honor of such it's time for Jeff and Emma to break down what surely has to be the most accurate Dracula adaptation—Bram Stoker's Dracula (1992). It's even got the author's name! The cowboy is there! Wait, what? What do you mean they make Dracula a brooding antihero? What do you mean Mina wants to fuck him like her life depends on it? What do you mean Jonathan is played by Keanu Reeves? Oh boy, sounds like the creatures of the night have sure made some… strange... music with this one.   Content warnings for Dracula include: sexual assault, gaslighting, death of a loved one, death of a family member, medical horror, racism and xenophobia towards the Romani people, some weird Victorian values, and the consuming of one baby.   Content warnings for Bram Stoker's Dracula (1992) include: all of the above content warnings PLUS a frankly ridiculous level of horniness.   The articles and interviews Emma references in this episode can be found here: https://people.com/movies/francis-ford-coppola-denies-winona-ryder-verbal-abuse-dracula/ https://ew.com/article/2015/10/06/francis-ford-coppola-remembers-dracula/ https://www.youtube.com/watch?v=9WwF6vRG3FE https://ew.com/article/2015/08/03/bram-stokers-dracula-francis-ford-coppola-bluray/ https://www.thedigitalfix.com/dracula/cary-elwes-interview-francis-ford-coppola https://www.theguardian.com/culture/2024/nov/20/bram-stokers-dracula-francis-ford-coppolas-very-horny-vampire-epic https://www.polygon.com/horror/507232/bram-stokers-dracula-1992-nosferatu-horny-vampire-sex https://www.nytimes.com/1992/12/06/style/the-new-blood-culture.html   You can find Emma on twitter @ematsca and the show @UnselectPod. Emma is also on bluesky now @crabmoney.bsky.social. You can find Jeff @jeffstormer.gobirds.online. Unnatural Selection is a part of the Moonshot Podcast Network. If you like what you've heard from Emma and Jeff and want to support the network, you can become a patron at patreon.com/moonshotnetwork.   The music for this podcast was composed by Jake Loranger. You can find more of his work at https://amaranthine.bandcamp.com

Join Eric & Ser (and Pete & Chris) for Dracula 2.0 as a classic gets an upgrade for the 1950s.  Because, when monsters live forever, they require a little spit and polish every now and again.  OUR 1 YEAR ANNIVERSARY, EVERYBODY!!!!  Thank you for listening!Send us a text

Eric & Serling go back to basics and cover the movie that kicked American horror cinema into high gear.  What still works from almost a century ago?  And which movies come out on top when they rate "The Big 3" horror hits of 1931.Send us a text

Send us a textWelcome to Celebrate Poe - Episode 355 - Why All the Fuss About DraculaEpisode 354 should be a relatively short episode - the subject is Stoker's Dracula - and I want to briefly explore some reasons WHY Dracula is considered a great book. But before I start, I am going to be talking about all kinds of aspects of Dracula - and I know some of them are completely new to you - stick with me, and in several episodes, hopefully all this will make sense.The novel unfolds through journals, letters, and newspaper clippings, immersing readers in the characters' perspectives. This epistolary style builds suspense—readers piece together clues alongside the protagonists, heightening tension. Jonathan Harker's early journal entries, for instance, subtly foreshadow Dracula's menace without explicit exposition.Stoker synthesized Eastern European folklore into a cohesive mythos, defining modern vampire traits: aversion to sunlight, shape-shifting, and vulnerability to stakes and garlic. Unlike later romanticized vampires, Dracula is a chilling aristocrat who embodies Victorian fears of foreign invasion and sexual corruption.Thank you for experiencing Celebrate Poe.

In this final installment of our March podcast villain series, we decided to end with a character who has been interpreted in more ways than almost any other: Count Dracula.Meaghan and Arthur dove into this rich, multifaceted figure who has stood the test of time, appearing in literature, theater, film, television, comics, and even ballet. While Dracula is far from the first fictional villain, his enduring presence makes him one of the most iconic.Across generations, the character has been portrayed in so many forms that it almost becomes impossible to count. So we took on the challenge of tracing Dracula's origins, his evolution across media, and our own personal favorites from his cinematic portrayals.The Roots of DraculaWe began by introducing listeners to the original story of Dracula, the novel published in 1897 by Irish author Bram Stoker. The novel is set up in an epistolary format, meaning it's told through letters, journal entries, telegrams, and various documents — a storytelling method that adds a documentary-like authenticity to the supernatural tale.Much of it was written while Stoker stayed in Whitby, England, a location that eventually inspired part of the book's setting. In the story, Jonathan Harker travels to Transylvania to help a mysterious count named Dracula purchase property in England. Things spiral into horror as Dracula makes his way to London, bringing with him death and chaos.As we discussed, there's a longstanding debate about Dracula's real-life inspiration. The common theory connects him to Vlad the Impaler, a ruthless 15th-century ruler known for his violent methods. There's also speculation around Hungarian countess Elizabeth Bathory, infamous for allegedly bathing in the blood of young girls. However, newer scholarship suggests Stoker might have chosen the name "Dracula" simply because he misunderstood it to mean “devil” in Romanian.We also touched on the thematic weight of Dracula's character - how, especially during the Victorian era, he symbolized temptation, corruption, foreignness, and disease. His ability to lure women into his power and feed on them while they remained semi-willing created a metaphorical blend of sexuality, danger, and the fear of the “other” that resonated with readers of the time.Dracula on the Screen: From Shadows to SoundWe explored how Dracula's story was first visualized in cinema, starting with the silent film Nosferatu (1922), a German adaptation that changed character names to avoid copyright issues.Despite efforts by Stoker's widow to have all copies destroyed, a few prints survived, and the film became a cult classic. Nosferatu laid the groundwork for what would become the Dracula visual standard — looming figures, haunting silhouettes, and unsettling stillness.We then examined the 1931 Dracula film starring Bela Lugosi, the first officially licensed screen adaptation. Lugosi's performance shaped the image of Dracula in popular culture: the accent, the cape, the stare.We learned that Lugosi performed the role phonetically, not speaking English fluently, which added to the eerie stillness of his portrayal. Interestingly, a Spanish-language version was filmed simultaneously using the same sets, which many critics consider to be superior in certain technical aspects.Dracula became the foundation for Universal Studios' “monster movie” identity, alongside Frankenstein, The Mummy, and The Wolfman. These films established a shared aesthetic that would be drawn upon for decades.Waves of Interpretation: Gothic Horror to Sexy VampiresFrom the 1950s through the 1970s, we saw a gothic revival of Dracula through Hammer Horror films, most prominently featuring Christopher Lee. We both appreciated Lee's version — a charismatic, regal Dracula — and talked about how he portrayed the character in seven different Hammer films. In some of those, he even refused to speak if he found the lines poorly written, creating a more silent, menacing figure.The 1970s also brought in more playful and unconventional interpretations, like Blacula, a Blaxploitation reimagining. We highlighted how William Marshall's portrayal introduced a sophisticated, socially aware Dracula figure who challenged racial themes head-on. There was also Frank Langella's Dracula, which leaned heavily into romantic seduction, further evolving the character from monster to tragic anti-hero.Then came the 1992 film Bram Stoker's Dracula by Francis Ford Coppola, starring Gary Oldman, Keanu Reeves, and Winona Ryder. While visually rich and ambitious in scope, we felt it was uneven — a mix of great performances and questionable choices, particularly with casting and pacing.Modern Spins and ReinventionWe also explored how Dracula has fared in the 21st century. In the 2000s, the character began to be molded in more experimental or comedic directions. We discussed Dracula 2000, which offered a wildly original origin story — portraying Dracula as Judas Iscariot, cursed with immortality for betraying Jesus. Despite the film's overall mediocrity, we admired the creativity of that take.Then, there was Dracula Untold (2014), a more action-oriented approach that reconnected Dracula to Vlad the Impaler. While not universally loved, we found it entertaining and appreciated its attempt to craft a distinct backstory. Meanwhile, the 2020 BBC/Netflix miniseries Dracula starring Claes Bang impressed both of us deeply. We praised it as one of the most creative and engaging portrayals in recent memory, successfully blending horror, humor, and charisma.We also talked about recent comedic takes like Renfield (2023), with Nicolas Cage going full camp as Dracula. Cage's performance stood out despite the film's weaknesses — we both agreed he injected new life into a familiar character. Additionally, animated versions like Hotel Transylvania took Dracula in a fully comedic, family-friendly direction.Cultural Impact and CuriositiesBeyond film, Dracula has appeared across multiple mediums. We were fascinated to learn that he had a run in Marvel comics in the 1970s in Tomb of Dracula, which also introduced Blade. There were radio adaptations, most notably one with Orson Welles, and even ballet productions like Dracula: Pages from a Virgin's Diary, combining gothic horror with Canadian ballet.We included several TV portrayals in our honorable mentions, such as the Buffy the Vampire Slayer episode “Buffy vs. Dracula,” and a Supernatural episode featuring a Dracula-inspired shapeshifter. These versions brought humor and novelty to the character, continuing his evolution into satire and pastiche.And, of course, we couldn't forget the Count from Sesame Street — likely the only Dracula interpretation who's never been evil, only educational.Our Personal Rankings and Final ThoughtsWe each compiled a top-five ranking of our favorite portrayals of Dracula. While our picks varied in the lower ranks — with shoutouts to Nosferatu, Blacula, Dracula Untold, Nicolas Cage's Renfield Dracula, and the 1931 Bela Lugosi version — we both agreed that Claes Bang's portrayal in the 2020 miniseries was number one. His performance captured a blend of menace, charm, and unpredictability that felt refreshing and memorable.As we wrapped up the episode, we reflected on how Dracula, as a character, has endured through decades because of his adaptability. Whether terrifying, seductive, tragic, or hilarious, Dracula continues to evolve with the times. From Victorian fears to modern humor, he offers creators endless possibilities to reimagine what a vampire — and a villain — can be.We're wrapping up villain month with this tribute, but we're excited to start a brand new theme next week. Dracula might be going back to his coffin for now, but he'll certainly rise again.

Nous terminons cette semaine le programme « La Littérature en dessin » de La Librairie des étudiants. Nous ouvrons la bande dessinée Dracula co-signée par Bram Stocker et Georges Bess aux éditions Glénat. Jonathan Harker se rend en Transylvanie pour affaire avec le... Continue Reading →

Una entidad tan antigua como el propio universo llega a nuestra realidad a través de objetos creados por los humanos. Uno de ellos es la novela Drácula de Bram Stoker, cuya fama pervive gracias a encarnaciones como la película muda Nosferatu, creada con intenciones oculistas… Este es el epicentro de Luz negra (Ed. Minotauro), de nuestro invitado Pedro Berruezo (John Tones), un homenaje a la creación de Stoker y Murnau a través de personajes de diferentes épocas e incluso realidades como Florence Stoker, la viuda, una experta en cinéfilo mudo de nuestros días , la espiritista Maria B. Hayden, Albin Grau, productor ocultista de Nosferatu o el propio Jonathan Harker, primer invitado de Drácula en la novela de Bram Stoker. Libro muy recomendable que complementamos con Duque de Campagne y Don Víctor comentando algunos de los mejores cómics inspirados en el mítico personaje vampírico.Escuchar audio

Dracula gives hospitality lessons. Jonathan Harker makes some striking observations about Dracula's physiology that perhaps even a lawyer, like himself, would find concerning. 0:00 - intro 1:17 - Dramatic Reading of Dracula Ch. 2 Pt. 1 15:08  - A (not so) brief discussion Dracula by Bram Stoker (1897) https://gutenberg.org/cache/epub/345/pg345-images.html This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Credit to https://www.FesliyanStudios.com for the background music. Credit to https://www.soundjay.com/ for the sound effects Podcast Photo P/C: https://www.pexels.com/@luan-oosthuizen-823430/collections/

Regarding Dracula is a  bite-sized audio adaptation of the horror classic, taking you through Bram Stokers 1897 novel  with a full cast of characters and deliciously terrifying sound design. It's one of my personal obsessions and it's about to be yours.Learn more: https://redracula.live/This episode featured Ben Galpin as Jonathan Harker, Sivan Raz as the Hungarian man and additional voices, Mihai Matei as the driver and additional voices, Madi Opincaru as the German-speaking traveller and additional voices, with additional voices by Ioana Adăscăliței, Graham Rowat as Peter Hawkins, and Karim Kronfli as Dracula. Directed by Stephen Indrisano. Dialogue editing by Stephen Indrisano. Sound design by Tal Minear. Produced by Ella Watts and Pacific S. Obidiah, with executive producers Stephen Indrisiano, Tal Minear, and Hannah Wright. A Bloody FM production.Transcript:  Presented by Bloody FMwww.Bloody-Disgusting.comwww.SCParchives.comPatreon: https://www.patreon.com/scp_podStore: https://store.dftba.com/collections/scp-archivesTikTok: https://www.tiktok.com/@scppodYouTube: https://www.youtube.com/c/scparchivesInstagram: https://www.instagram.com/scp_pod/Bluesky: https://bsky.app/profile/scparchives.bsky.socialTwitter: https://twitter.com/scp_podFacebook: https://www.facebook.com/scppodDiscord: https://discord.gg/tJEeNUzeZX

Jonathan Harker embarks on a journey to visit the incomparable Count Dracula. The innkeeper and his wife read Harker's mail committing a felony and celebrate superstitious holidays. Harker scrapbooks some local recipes.  0:00 - intro 3:00 - Dramatic Reading of Dracula Ch. 1 Pt. 1 16:26  - A (not so) brief discussion Dracula by Bram Stoker (1897) https://gutenberg.org/cache/epub/345/pg345-images.html This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Credit to https://www.FesliyanStudios.com for the background music. Credit to https://www.soundjay.com/ for the sound effects Podcast Photo P/C: https://www.pexels.com/@luan-oosthuizen-823430/collections/

Welcome to "Dracula," a classic radio drama adaptation of Bram Stoker's iconic novel. Originally broadcast by CBS Radio in 1938 as part of "The Mercury Theatre on the Air" series, this groundbreaking episode was directed and narrated by Orson Welles. The show follows the haunting tale of Count Dracula and his supernatural powers, bringing the classic horror story to life through the power of radio. Whether you're a long-time fan or new to the series, "Dracula" offers a chilling and captivating listening experience. Join us as we delve into the world of Count Dracula and his supernatural powers, and experience the horror that has captivated audiences for generations. The Story Behind Dracula "Dracula" was the first episode of "The Mercury Theatre on the Air" series, broadcast on July 11, 1938. The show was a pioneering work in radio drama, featuring innovative sound effects and a talented cast, including Orson Welles as Dracula and Dr. Arthur Seward, George Coulouris as Jonathan Harker, and Elizabeth Farrell as Lucy Westenra.Key Characters and VoicesThe main cast includes: Orson Welles as Dracula and Dr. Arthur Seward George Coulouris as Jonathan Harker Elizabeth Farrell as Lucy Westenra Martin Gabel as Professor Van Helsing Ray Collins as Russian Captain Karl Swenson as The Mate Dracula Radio drama Bram Stoker Orson Welles The Mercury Theatre on the Air CBS Radio Classic horror 1938 radio shows Spotify podcasts Google search radio dramas HALLOWEEN Influence and Legacy "Dracula" has had a lasting impact on the horror genre, influencing numerous adaptations and interpretations of Bram Stoker's novel. The show's innovative use of sound effects and its atmospheric storytelling have made it a classic of radio drama.

Welcome to "Dracula," a classic radio drama adaptation of Bram Stoker's iconic novel. Originally broadcast by CBS Radio in 1938 as part of "The Mercury Theatre on the Air" series, this groundbreaking episode was directed and narrated by Orson Welles. The show follows the haunting tale of Count Dracula and his supernatural powers, bringing the classic horror story to life through the power of radio. Whether you're a long-time fan or new to the series, "Dracula" offers a chilling and captivating listening experience. Join us as we delve into the world of Count Dracula and his supernatural powers, and experience the horror that has captivated audiences for generations. The Story Behind Dracula "Dracula" was the first episode of "The Mercury Theatre on the Air" series, broadcast on July 11, 1938. The show was a pioneering work in radio drama, featuring innovative sound effects and a talented cast, including Orson Welles as Dracula and Dr. Arthur Seward, George Coulouris as Jonathan Harker, and Elizabeth Farrell as Lucy Westenra.Key Characters and VoicesThe main cast includes: Orson Welles as Dracula and Dr. Arthur Seward George Coulouris as Jonathan Harker Elizabeth Farrell as Lucy Westenra Martin Gabel as Professor Van Helsing Ray Collins as Russian Captain Karl Swenson as The Mate Dracula Radio drama Bram Stoker Orson Welles The Mercury Theatre on the Air CBS Radio Classic horror 1938 radio shows Spotify podcasts Google search radio dramas HALLOWEEN Influence and Legacy "Dracula" has had a lasting impact on the horror genre, influencing numerous adaptations and interpretations of Bram Stoker's novel. The show's innovative use of sound effects and its atmospheric storytelling have made it a classic of radio drama.

Welcome to "Dracula," a classic radio drama adaptation of Bram Stoker's iconic novel. Originally broadcast by CBS Radio in 1938 as part of "The Mercury Theatre on the Air" series, this groundbreaking episode was directed and narrated by Orson Welles. The show follows the haunting tale of Count Dracula and his supernatural powers, bringing the classic horror story to life through the power of radio. Whether you're a long-time fan or new to the series, "Dracula" offers a chilling and captivating listening experience. Join us as we delve into the world of Count Dracula and his supernatural powers, and experience the horror that has captivated audiences for generations. The Story Behind Dracula "Dracula" was the first episode of "The Mercury Theatre on the Air" series, broadcast on July 11, 1938. The show was a pioneering work in radio drama, featuring innovative sound effects and a talented cast, including Orson Welles as Dracula and Dr. Arthur Seward, George Coulouris as Jonathan Harker, and Elizabeth Farrell as Lucy Westenra.Key Characters and VoicesThe main cast includes: Orson Welles as Dracula and Dr. Arthur Seward George Coulouris as Jonathan Harker Elizabeth Farrell as Lucy Westenra Martin Gabel as Professor Van Helsing Ray Collins as Russian Captain Karl Swenson as The Mate Dracula Radio drama Bram Stoker Orson Welles The Mercury Theatre on the Air CBS Radio Classic horror 1938 radio shows Spotify podcasts Google search radio dramas HALLOWEEN Influence and Legacy "Dracula" has had a lasting impact on the horror genre, influencing numerous adaptations and interpretations of Bram Stoker's novel. The show's innovative use of sound effects and its atmospheric storytelling have made it a classic of radio drama.

Welcome to "Dracula," a classic radio drama adaptation of Bram Stoker's iconic novel. Originally broadcast by CBS Radio in 1938 as part of "The Mercury Theatre on the Air" series, this groundbreaking episode was directed and narrated by Orson Welles. The show follows the haunting tale of Count Dracula and his supernatural powers, bringing the classic horror story to life through the power of radio. Whether you're a long-time fan or new to the series, "Dracula" offers a chilling and captivating listening experience. Join us as we delve into the world of Count Dracula and his supernatural powers, and experience the horror that has captivated audiences for generations. The Story Behind Dracula "Dracula" was the first episode of "The Mercury Theatre on the Air" series, broadcast on July 11, 1938. The show was a pioneering work in radio drama, featuring innovative sound effects and a talented cast, including Orson Welles as Dracula and Dr. Arthur Seward, George Coulouris as Jonathan Harker, and Elizabeth Farrell as Lucy Westenra.Key Characters and VoicesThe main cast includes: Orson Welles as Dracula and Dr. Arthur Seward George Coulouris as Jonathan Harker Elizabeth Farrell as Lucy Westenra Martin Gabel as Professor Van Helsing Ray Collins as Russian Captain Karl Swenson as The Mate Dracula Radio drama Bram Stoker Orson Welles The Mercury Theatre on the Air CBS Radio Classic horror 1938 radio shows Spotify podcasts Google search radio dramas HALLOWEEN Influence and Legacy "Dracula" has had a lasting impact on the horror genre, influencing numerous adaptations and interpretations of Bram Stoker's novel. The show's innovative use of sound effects and its atmospheric storytelling have made it a classic of radio drama.

Join us for this week's "Sunday Night Playhouse" Halloween special on Vintage Classic Radio. We take you back to 1938, for a thrilling re-broadcast of the "Mercury Theater on the Air" adaptation of "Dracula". This spine-tingling episode was directed by and starred Orson Welles, in dual roles as both Dracula and Dr. Seward. The story, based on Bram Stoker's classic novel, follows the terrifying events as Count Dracula moves from Transylvania to England, spreading the dark curse of the undead among the innocent. The episode also features a stellar cast including Agnes Moorehead as Mina Harker, Geroge Coulouris as Van Helsing, Elizabeth Fuller as Lucy Westenra, Martin Gabel as Jonathan Harker, and Ray Collins as the Ship Captain. Together, they bring to life this chilling tale, enhanced by Bernard Hermann's eerie and atmospheric score, making it an unforgettable listening experience. Tune in to relive the horror and drama of this vintage broadcast.

On the Oct. 4 Friday LIVE, Genevieve Randall and guests have lively conversations about: Ross Fright Fest; “Dave Calkins and Friends” concert at the West Nebraska Arts Center in Scottsbluff; Nebraska Rep's “The Importance of Being Earnest;" art exhibitions at the Norfolk Arts Center; Bluebarn Theatre's "Dracula: The Journal of Jonathan Harker;" and "Back to the Future: The Musical" at the Lied Center. Also, poetry from Bianca Swift and a look at the Shelterbelt Theatre's next production in Omaha.

Jonathan Harker tracks down the Count's boxes of earth. Next episode: 3 October.

In honor of his new movie Megalopolis (now in theaters!), we're taking a look at Francis Ford Coppola's 1992 horror romance, Bram Stoker's Dracula. Join in as we discuss our favorite vampires, Keanu's infamous accent work, the movie's incredible costumes, and the most important vampire rules. Plus: Is it possible to make Jonathan Harker interesting? How many voyages does the Demeter go on? What is Renfield's purpose? And, most importantly, why is this story mostly about real estate? Make sure to rate, review, and subscribe! Next week: Annihilation (2018)

Jonathan Harker rallies, and Dr. Seward is confronted with an inconvenient truth. Next episode: 27 September

INTENSE & GOTHIC!! Bram Stoker's Dracula Full Reaction Watch Along:  https://www.patreon.com/thereelrejects Follow Us On Socials: https://www.instagram.com/reelrejects/  https://www.tiktok.com/@thereelrejects?lang=en With Megalopolis Review now out, Roxy & John give their Bram Stoker's Dracula Reaction, Commentary, & Spoiler Review! Directed by Francis Ford Coppola and starring Gary Oldman as the iconic Count Dracula, Winona Ryder as Mina, Anthony Hopkins as Van Helsing, and Keanu Reeves as Jonathan Harker. This 1992 adaptation brings to life the chilling and tragic love story between Dracula and Mina. With stunning visuals, haunting music, and unforgettable performances, this gothic horror classic remains a beloved staple in vampire cinema. Before there were modern vampire tales like Twilight, Blade, Sinners, Abigail, True Blood, or even The Witcher, there was Dracula - perfect time for Halloween 2024! We watch and react to the best & scariest scenes such as "Dracula Bites Lucy The First Time," "Dracula Encounters Mina," "Diner At Dracula's Place," "The Vampire Form," "Final Moments," "Dracula's Demise," "Lucy Becomes A Vampire," & MORE! NOTE FOR YOUTUBE: All Footage Featured From "Bram Stokers Dracula" Is From A FICTIONAL Horror Movie. Any & All References To Violence Or Mature Content is NOT Real Follow Roxy Striar YouTube:https://www.youtube.com/@TheWhirlGirls Instagram: https://www.instagram.com/roxystriar/?hl=en Twitter:  https://twitter.com/roxystriar Support The Channel By Getting Some REEL REJECTS Apparel! https://www.rejectnationshop.com/ Music Used In Manscaped Ad:  Hat the Jazz by Twin Musicom is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ POWERED BY @GFUEL Visit https://gfuel.ly/3wD5Ygo and use code REJECTNATION for 20% off select tubs!! Head Editor: https://www.instagram.com/praperhq/?hl=en Co-Editor: Greg Alba Co-Editor: John Humphrey Music In Video: Airport Lounge - Disco Ultralounge by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Ask Us A QUESTION On CAMEO: https://www.cameo.com/thereelrejects Follow TheReelRejects On FACEBOOK, TWITTER, & INSTAGRAM:  FB:  https://www.facebook.com/TheReelRejects/ INSTAGRAM:  https://www.instagram.com/reelrejects/ TWITTER:  https://twitter.com/thereelrejects Follow GREG ON INSTAGRAM & TWITTER: INSTAGRAM:  https://www.instagram.com/thegregalba/ TWITTER:  https://twitter.com/thegregalba Learn more about your ad choices. Visit megaphone.fm/adchoices

May 5: Jonathan Harker arrives at Castle Dracula. This episode references the racist pseudoscience of craniometry. Transcript here.This episode featured: Ben Galpin as Jonathan Harker; Sivan Raz as the Hungarian Man and additional voices; Mihai Matei as the driver and additional voices; Madi Opincaru as the German-speaking traveler and additional voices; Ioana Adăscăliței with additional voices; Graham Rowat as Peter Hawkins; and Karim Kronfli as Dracula. Directed by Stephen Indrisano. Dialogue editing by Stephen Indrisano. Sound design by Tal Minear. Featuring music by Travis Reaves. Produced by Ella Watts and Pacific S. Obadiah, with executive producers Stephen Indrisano, Tal Minear, and Hannah Wright. A Bloody FM Production.Re: Dracula is a bite-sized audio adaptation of the horror classic, featuring a full cast and immersive sound design. Every entry in this epistolary novel is turned into an episode and set to your podcatcher on the day it happens. Find out more about this award-winning audio drama at redracula.live.More info (including cast & crew) here! Hosted on Acast. See acast.com/privacy for more information.

Isn't it time for your favorite horror movie podcast to do something a bit more literary? How about an epistolary novel where every character is 30% more horny than necessary? That's right, we're cracking the book on 1992's BRAM STOKER'S DRACULA to explore every main character in the order in which their blood is tasted!! Along the way, we explore frilled lizard costumes, corset rippers, bad accent work, great romantic chemistry, personal bug-eating problems, blood-sucking tech bros, and how Count Dracula makes people act like Lenny and Squiggy!! All this, plus self-serve blood crosses, the legacy of Jonathan Harker, total goober, and destiny awaits for a new edition of Choose Your Own Deathventure!! This episode has crossed a sea of time for you to download it today!! Part of the BLEAV Network. Get even more episodes exclusively on Patreon! Artwork by Josh Hollis: joshhollis.com Kill By Kill theme by Revenge Body. For the full-length version and more great music, head to revengebodymemphis.bandcamp.com today! Our linker.ee Click here to visit our TeePublic shop for killer merch! Join the conversation about any episode on the Facebook Group! Follow us on IG @killbykillpodcast!! Join us on Threads or even Bluesky Check out Gena's Substack called Gena Watches Things!! Check out the films we've covered & what might come soon on Letterboxd!

In this week's episode, we take a look back at one of our more popular episodes, which discusses three different methods for starting your novel and introducing the central conflict. The episode ends with a preview of the audiobook of WIZARD-THIEF, as excellently narrated by Leanne Woodward. TRANSCRIPT 00:00:00 Introduction and Writing Updates (August 2024) Hello, everyone. Welcome to Episode 213 of The Pulp Writer Show. My name is Jonathan Moeller. Today is August the 9th, 2024 and today we are looking back at one of our older episodes, specifically Episode 110: Three Techniques for Starting Your Novel and Introducing the Conflict (from way back in February of 2022). It was one of the more popular episodes, so it seems like a good one to replay. Next week, we will go back to recording new episodes, but I've had a lot to do in real life these past couple weeks, so it seems like a good time to rerun some old episodes. If you have 213 episodes of your podcast, what's the point unless you can dig into the archives and rerun an old episode every once in a while? We will return to new episodes next week. We'll also close out this episode with a short preview of the audiobook of Wizard-Thief (as excellently narrated by Leanne Woodward). So listen for that at the end of the show. Before we get back to our old episode, let's have an update on my current writing projects. Half-Orc Paladin is done and it is available. You can get it at Amazon and Kindle Unlimited. People have asked when it's going to come to the other stores and it will once the series is done and all six books are out, which should be sometime in 2025. Now that Half-Orc Paladin is done, I am working on Shield of Conquest as my main project. I am on Chapter 3 of 22, which puts me 11,000 words into it. After that, I shall write Ghost in the Tombs and I'm 31,000 words into that. And after Ghost in the Tombs is done, I will then start on Cloak of Illusion, and I am 1,000 words into that. So if all goes well, hopefully we will have Shield of Conquest in September, Ghost in the Tombs of October, and Cloak of Illusion in November, which pretty much takes us almost to the end of 2024. So that's where I'm at with my current writing projects and now we will flash back to February 2022 and talk about 3 techniques to start your novel/introducing the conflict, and then we'll close out the show with a preview of the audiobook of Wizard-Thief, as excellently narrated by Leanne Woodward.   00:02:06 Re-airing of Episode 110 Begins. Introduction and Writing Updates from February 2022   Hello. Welcome to Episode 110 of The Pulp Writer Show. My name is Jonathan Moeller. Today is February the 25th, 2022 and today we're going to talk about how to start your book and introduce your conflict. Before we get into that, let's have some updates on my current writing projects. Editing is underway for Dragonskull: Blade of the Elves, and I also wrote a tie-in short story to go with it called The First Warlock, which is an origin story for one the new villains introduced in Blade of the Elves. This week I finished Dragonskull: Blade of the Elves, started editing, and also finished The First Warlock, and so if editing goes well and all goes well, that should be out sometime in March. I also finished writing Chapter One of Cloak of Shards. That will be my next main project after Dragonskull: Blade of the Elves is published in March. In audiobook news, I am beginning to proof-listen to chapters for Frostborn: The Dragon Knight (as excellently narrated by Brad Wills). So if all goes well, we should be able to listen to Frostborn: The Dragon Knight on audiobook platforms before too much longer. 00:03:22 Reader Question on Services for Physical Book Publishing Before we get into our main topic, we have one question from a reader this week. Steve asks: who do you typically do your physical publishing through, if I may ask? I almost always use Kindle Direct Publishing Print. It's generally the easiest and the simplest to use and offers both paperback and hardback now. Other providers like Ingram Spark offer a lot more options and customization options, but Ingram Spark is definitely harder and more complicated to use than Kindle Direct Publishing Print. And it's also easier to lose money doing that, since you can accidentally set yourself up with a negative return rate, which Amazon doesn't let you do. Draft to Digital has a print service. I've heard good things about it, but I've never actually used it, so I can't attest to it one way or the other. So if you're just starting out with your first book like I believe Steve is, then probably Kindle Direct Publishing Print is your quickest and easiest option for getting your book in paperback and hardback. 00:04:23 Main Topic of the Week: How to Start Your Book and Introduce Conflict So our main topic this week will be how to start your book and how to introduce your conflict. And of course, there's only one sentence that can start out that topic: “It was a dark and stormy night.” That sentence is perhaps the most cliched opening line in English literature. Of course, the opposite of that is writers who try to make the opening line of their book as shocking and memorable as possible, like for example, something along the lines of “today was the day I died for the seventh time.” If you read websites and Internet groups where writers frequent, you will often see writers agonizing at length about the opening line of their novel. Generally, the agonizing is all unnecessary. The introduction to your story has three purposes, and if you keep those three functions in mind, it will be much easier to both write the opening mind and the rest of the introduction. First, the introduction should catch the reader's attention. Second, the introduction should introduce the protagonist and the leading characters. Third, it should set the stage for the story's conflict. Let's go through each of these purposes and then share three methods for getting your story off the ground. First, catch the reader's attention. As we mentioned above, the necessity of seizing the reader's attention and of crafting an interesting opening sentence is a source of much angst in various Internet writers' forums. That said, it's best not to overthink things. The key is to provide just a little mystery, enough to inspire your curiosity and encourage the reader to continue further into the book. The easiest way to be interesting is not to be boring. That's, you know, easy to say, but difficult to do. There are, alas, numerous boring ways to start a book, and you should avoid them. It is best to avoid descriptions of the weather, like the famous dark and stormy night. Likewise, it is a good idea to avoid starting your book with lengthy descriptions of the scenery or the setting. Writers who are good at writing lovely prose might pull that off. But I'm not one of those writers, and in my opinion, lovely prose is only useful as a vehicle to advance the plot. Like most advice, “don't be boring” is easy to say and harder to do. How do you provide a little mystery in your novel's introduction? You want to set up a situation where you've inspired just enough curiosity in your reader that they keep reading. The first sentence doesn't have to carry the entire load, but it does help. “After dropping my children off at daycare, I drove to the gas station, loaded my pistol, and walked inside.” This example of an opening sentence might be a bit overdramatic, but it serves to illustrate the point. The narrator is seemingly a responsible parent, dropping his or her children off at daycare before heading to work. Why, then, is the narrator walking into a gas station with a weapon? For many readers, this will inspire enough curiosity to keep reading. Here is the opening sentence from my urban fantasy novel, Cloak Games: Thief Trap (which as of this recording is available for free on all book all ebook platforms). “One of the earliest things I remember is watching the entire United States Congress commit suicide on national television.” Readers have emailed to tell me that this is one of the more effective opening sentences that I have written. It is both a bit of a shock and a mystery hook. Why is a small child watching in the government commit suicide on national TV? If the reader wants to find out why, they will have to read on. Second, introduce the characters. The introduction of the story must also present the main characters to the reader. Obviously, you don't need to introduce all the characters in the book to the reader right away, nor all the details about them. This, in fact, would be a bad idea. The easiest way to introduce any characters in the introduction is to have them engaged in something that reflects their personality and potential conflicts. For example, consider the novel Dracula by Bram Stoker. The book opens with letters written by Jonathan Harker to his fiancée, Mina Murray. In the letters, we learn that Harker is a new solicitor on his way to Transylvania to conduct a real estate transaction with an eccentric rural nobleman named Count Dracula. This handily introduces the characters of Harker, Mina, and Dracula, and sets up the stakes. Harker wants to establish himself in his profession so he can marry Mina, and he just needs to conclude his business with Dracula. Unfortunately for Harker, Dracula turns out to be far more dangerous than he initially appears. Soon, both Harker and the reader realize that Dracula is in fact an ancient vampire and the book's conflict begins. Introducing the characters is a good way to segue into setting the stage for the story's conflict, which we will discuss next. Third, introducing the conflict. The third and final purpose of the introduction is to introduce the reader to the story's conflict or antagonist. There are lots of fun and exciting ways to introduce the conflict. And I say fun and exciting because this is often where the story starts getting quite energetic. In a fantasy novel, it might be when the hero's village is attacked by orcs. In a mystery story, it's when someone stumbles across a dead body. In a thriller novel, perhaps the hero finds a sinister terror plot that is already well underway. The conflict can also be introduced more sedately. In an action themed book, it is easy to introduce the conflict via sudden violence, the attack of orcs, or sudden murder. Other kinds of stories may not involve so much physical danger. The central conflict of most romance novels, for example, is whether or not the heroine and the love interest will get together and whether or not they can overcome the assorted obstacles preventing them from having a relationship. A romance novel might introduce the conflict by having the love interest antagonize the heroine in some way. Perhaps the love interest is a lawyer who represents the heroine's business rival or the heroine is a local law enforcement official and the love interest is an FBI agent who threatens to take over her case. Regardless of how the conflict is introduced, the most important part of the conflict is that it must compel the protagonist to take action. If the conflict or the antagonist isn't serious enough to force the protagonist to act, then nothing happens and you don't have a story. It is possible to have the protagonist refuse to engage with the conflict, only to be forced into it later. For example, take a detective story where the main character, a retired cop, refuses to look into an old case. The retired cop's former partner is murdered and the grief over his death drives the protagonist into investigating. Now that you're familiar with the three roles an introduction needs to fill, let's take a look at three different methods of writing an introduction: a prologue, Bildungsroman/a slow build, or in media res/in the middle of things. First, a prologue. A prologue is a short preamble before the main story where you introduce the situation and certain facts about the setting to the reader, facts that your protagonist may not discover until later in the novel. The disadvantage of the prologue is that you will probably need to continue the introduction within the main body of the story, since the prologue is usually not enough to introduce the reader to the protagonist and the main conflict in an interesting way. The advantage of a prologue is that you can show the reader vital facts about the story and obtaining those facts might be a central plot point for the main characters. One of the better examples of a good prologue I've read comes from the mystery novel Field of Prey by John Sanford. The novel revolves around Detective Lucas Davenport's efforts to find a pair of serial killers operating in rural Minnesota. The prologue introduces the two serial killers and shows how they stumble across their preferred method of capturing their victims. In terms of story structure, that means the reader immediately knows who the killers are, even though Davenport and the other detectives do not. The actual plot does not kick off until the first chapter, when a pair of teenagers accidentally discover where the serial killers have been hiding the bodies of their victims. But throughout the book, the reader's advance knowledge from the prologue adds an additional layer of tension to the story, especially when one of the investigators stumbles across the killers without realizing his mortal peril. Field of Prey had an effective prologue, but I have to admit, a prologue is my least favorite technique for an introduction. In the hands of a capable writer, a prologue works, but I've seen a lot of prologues used to dump information on the reader that the writer couldn't figure out how to reveal in the story or to introduce a character who doesn't turn up until 2/3 of the way through the book. If you do use a prologue, you will likely have to combine it with one of the other two introductory techniques we'll discuss during this podcast. That leads us to the second technique, Bildungsroman, which I think I pronounced correctly, but if I didn't, my apologies. The term Bildungsroman is a German word that means education novel and refers to a genre of fiction that revolves around the education and development of a young protagonist. Nowadays, in English, we tend to call these kind of books coming of age novels. As you might expect, books like this tend to be quite leisurely, following the protagonist from childhood to adulthood. I found that Bildungsroman is also a useful shorthand to describe a kind of introduction where the story slowly builds to the conflict. The Lord of the Rings is a good example of a story with a leisurely introduction to the conflict. Frodo doesn't learn that his uncle Bilbo's magic ring is in fact The One Ring until well into the story, and even more time passes before he leaves with the ring to keep it safe. For that matter, the central conflict isn't fully expressed, that the ring must be destroyed and Frodo is the one to do it, until well into the book. It can be tricky to hold the reader's interest during a long and leisurely introduction. A good way to keep the reader's interest is to introduce an element of mystery to a long introduction. In a fantasy novel, the protagonist might have a secret he has to keep from everyone. Perhaps he has magical abilities and is hiding them for fear of persecution, or he's secretly the heir to a deposed king and the current regime will kill him if they find him. A Study in Scarlet, the first Sherlock Holmes story, is a good example of a slow introduction, even though the entire book is relatively short. Doctor Watson needs a roommate to help cover his rent, so he moves in with the mysterious Sherlock Holmes. Holmes has many eccentricities, lending an air of mystery to him, and finally Watson learns that Holmes is consulting detective. The actual central conflict of the book (Holmes is brought in to solve a mysterious murder) does not take place until well into the story, but the mystery around Holmes himself helps hold the reader's interest. That leads to our third potential technique for starting a story, in media res. Now in media res is a Latin phrase that translates to “into the middle of things” in English and refers to the kind of introduction where you immediately thrust the reader into the plot without much in the way of build up. There are many different methods to do this, and in some ways, it is much easier to write than a slower introduction. In a fantasy novel, for example, the protagonist might wake up to find his village under attack by orcs. In a military science fiction novel, the book could start with the protagonist leading his platoon or squadron into battle against the space bugs. I have to admit, this story trope does seem quite common in military science fiction. A contemporary mystery novel could open with the detective standing over the murder victim and starting the investigation that will be the central conflict of the plot. A legal thriller might open in the middle of a high stakes trial, with the judge issuing a ruling that sets back the protagonist case and forces her to pursue a different strategy. The strength of starting the plot in media res is that you can immediately hook the reader with an action scene or some other kind of problem. It's easier to draw the reader's attention with a battle scene or some sort of dramatic sequence than it is with a slower introduction. You can then shift to the next phase of story structure and the conflict once you've gotten through the initial introduction. The weakness of starting in media res is that you're probably going to skip a lot of important information for the plot that you'll need to address later. To return to our previous examples, why are the orcs attacking the protagonist's village? Or why is the protagonist leading his platoon into battle against the space bugs? The danger is that you might be tempted to engage in massive info dumps later in the book, where characters state obvious things to each other that they already know, like for example, “as you know, Bob, we're both detectives engaged in a murder investigation.” Now people in real life generally do not talk that way, and using infodumps in dialogue or regular prose runs the risk of breaking the story's air of verisimilitude. The way to avoid info dumps is to use the release of new information as part of driving the plot. As always, the best way to do that is to keep an element of mystery in the story, allowing you to reveal information for maximum dramatic effect. To return to the example of the mystery novel that opens with the detective standing over the dead body, let's say that after the first few chapters, the detective's superior threatens to pull him off the case. There could be any number of reasons. Perhaps the detective botched a similar case, or the detective's partner was killed investigating the similar case, and the failure haunts our protagonist to this day or the murder has political implications and the detective superior is feeling pressure from his bosses to bury the case. Revealing this information as a complication in the plot rather than an infodump will improve the story. In our example of a fantasy novel where the protagonist's village is attacked by orcs and the villagers are taken captive, perhaps the human kingdom and the orcs have been at war for centuries. Perhaps the orcs were responding to a human attack, or maybe there is a traitor in the human kingdom who is working with the orcs. Either way, it is better for the protagonist to discover this during the plot rather than explaining it all in the introduction. Starting the story in media res is a great way to kick off the book, but it can be a challenge to not let things slacken after that. Retaining an element of mystery and, of course, complications for a protagonist to face, will keep things moving and interesting for the reader. As a final point, it is possible to open your book with a combination of prologue, Bildungsroman, and in media res, though you might want to wait until you have more experience writing novels before trying something complicated. The harsh advice of “keep it simple, stupid” applies to many areas of life and keeping things as simple as possible is often useful for writing novels as well. So, I hope you have found that helpful and that those techniques will be of use to you as you seek to start writing your own novels and short stories. So that is it for this week. Thank you all for listening to The Pulp Writer Show. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.

Tales From The Bungalow Dracula- Chapter 3 Jonathan Harker,s Journal Continued

Tales From The Bungalow D R A C U L A__CHAPTER I__JONATHAN HARKER'S

Jonathan Harker finds his final fate. Next episode: 1 July

Jonathan Harker knows his escape, or final fate, must come soon. Next episode: 30 June

Jonathan Harker finds a way around his locked door and explores the castle in the daytime. Next episode: 29 June

Jonathan Harker dozes outside his room and receives a startling visitation. Next episode: 25 June

Jonathan Harker looks to outside visitors for help! Next episode: 18 June

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! Primer episodio de esta locución no profesional de la inmortal obra de Bram Stoker. La música del inicio y el final es el tema Dark Suspens Trailer 4, de Daniel H, y está usada bajo licencia de atribución Creative Commons. Podéis encontrar éste y otros temas del mismo autor en su perfil de Jamendo: https://www.jamendo.com/artist/341459/daniel-h La música que suena durante el relato de Jonathan Harker es el tema Lovecraftian Dark Ambient Hour, de Iron Cthulhu Apocalypse, y está usada bajo licencia de atribución Creative Commons. Podéis escuchar esta y otras creaciones de este artista en su perfil de You Tube: https://www.youtube.com/channel/UCPu3YP9Qgl46UdFrGvyguNw Si te ha gustado este podcast tal vez quieras apoyar nuestro trabajo. Puedes hacerlo mediante una donación en este enlace: https://www.ivoox.com/ajx-donation_p4_421745_1.html Gracias por la escucha, ¡y nunca dejes de soñar! Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! Segundo episodio de esta locución no profesional de la inmortal obra de Bram Stoker. Gracias a David Ibáñez por su aporte en esta locución en el papel de Mr. Hawkings. La música del inicio es el tema Cinematic Magical Mystical Impressive Grand Piano Magic Pictures Theme Soundtrack 003, de ProductionMusic, y está usada bajo licencia de atribución Creative Commons. Podéis encontrar este y otros temas del mismo autor en su perfil de Jamendo: https://www.jamendo.com/artist/430899/productionmusic-instrumental-version La música que suena durante el relato de Jonathan Harker es el tema Ghost Failure, de Iron Cthulhu Apocalypse, y está usada bajo licencia de atribución Creative Commons. Podéis escuchar esta y otras creaciones de este artista en su perfil de You Tube: https://www.youtube.com/channel/UCPu3YP9Qgl46UdFrGvyguNw La música del final es el tema Dark Suspens Trailer 4, de Daniel H, y está usada bajo licencia de atribución Creative Commons. Podéis encontrar este y otros temas del mismo autor en su perfil de Jamendo: https://www.jamendo.com/artist/341459/daniel-h Si te ha gustado este podcast tal vez quieras apoyar nuestro trabajo. Puedes hacerlo mediante una donación en este enlace: https://www.ivoox.com/ajx-donation_p4_421745_1.html Gracias por la escucha, ¡y nunca dejes de soñar! Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! Tercer episodio de esta locución no profesional de la inmortal obra de Bram Stoker. La música del inicio es el tema Cinematic Magical Mystical Impressive Grand Piano Magic Pictures Theme Soundtrack 003, de ProductionMusic, y está usada bajo licencia de atribución Creative Commons. Podéis encontrar este y otros temas del mismo autor en su perfil de Jamendo: https://www.jamendo.com/artist/430899/productionmusic-instrumental-version La música que suena durante el relato de Jonathan Harker es el tema Ghost Failure, de Iron Cthulhu Apocalypse, y está usada bajo licencia de atribución Creative Commons. Podéis escuchar esta y otras creaciones de este artista en su perfil de You Tube: https://www.youtube.com/channel/UCPu3YP9Qgl46UdFrGvyguNw La música del final es el tema Dark Suspens Trailer 4, de Daniel H, y está usada bajo licencia de atribución Creative Commons. Podéis encontrar este y otros temas del mismo autor en su perfil de Jamendo: https://www.jamendo.com/artist/341459/daniel-h Si te ha gustado este podcast tal vez quieras apoyar nuestro trabajo. Puedes hacerlo mediante una donación en este enlace: https://www.ivoox.com/ajx-donation_p4_421745_1.html Gracias por la escucha, ¡y nunca dejes de soñar! Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! Cuarto episodio de esta locución no profesional de la inmortal obra de Bram Stoker. La música del inicio es el tema Cinematic Magical Mystical Impressive Grand Piano Magic Pictures Theme Soundtrack 003, de ProductionMusic, y está usada bajo licencia de atribución Creative Commons. Podéis encontrar este y otros temas del mismo autor en su perfil de Jamendo: https://www.jamendo.com/artist/430899/productionmusic-instrumental-version La música que suena durante el relato de Jonathan Harker es el tema Secret Continuity, de Iron Cthulhu Apocalypse, y está usada bajo licencia de atribución Creative Commons. Podéis escuchar esta y otras creaciones de este artista en su perfil de You Tube: https://www.youtube.com/channel/UCPu3YP9Qgl46UdFrGvyguNw La música del final es el tema Dark Suspens Trailer 4, de Daniel H, y está usada bajo licencia de atribución Creative Commons. Podéis encontrar este y otros temas del mismo autor en su perfil de Jamendo: https://www.jamendo.com/artist/341459/daniel-h Si te ha gustado este podcast tal vez quieras apoyar nuestro trabajo. Puedes hacerlo mediante una donación en este enlace: https://www.ivoox.com/ajx-donation_p4_421745_1.html Gracias por la escucha, ¡y nunca dejes de soñar! Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! "Lo que sigue va dirigido a Jonathan Harker. Es preciso que se quede aquí con nuestra querida Mina. Nosotros partiremos para investigar, aunque no sea esta la palabra, puesto que ya sabemos aproximadamente dónde está el enemigo y solo deseamos obtener la confirmación. No se mueva de aquí y cuide hoy de ella. Es su más sagrado deber. Hoy el conde no está ya aquí, pero es preciso que le explique a usted lo que ya sabemos nosotros cuatro. Nuestro enemigo ha huido, camino de su castillo de Transilvania". Episodio 24 de la inmortal obra de Bram Stoker, locutado por actores humanos. Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

An entry from Jonathan Harker's Journal as he once again tries to write to the outside world but makes another shocking discovery.

Jonathan Harker writes in his journal of an attempt to contact the outside world. But will the Count find out? Next episode: 31 May

Jonathan Harker's Journal. Harker receives an odd an ominous request from the Count.

Jonathan Harker ‘s Journal. He checks on the room from the other night to see if it might not have all been a dream.

Jonathan Harker writes in his journal about an encounter with someone else in the castle, other than the Count!

Today we read a letter from Lucy Westenra to Mina Murray and another entry from Jonathan Harker's journal.

We continue with Jonathan Harker's Journal as Jonathan's feelings of imprisonment increase and he finds even more to fear in his host. Next episode will arrive on Wednesday.

An entry from Jonathan Harker's journal as he begins to see solid evidence that something is sinister and unnatural about his host. Return tomorrow for the next episode.

Continuing today with another entry from Jonathan Harker's journal, as he is left to explore the castle of Dracula. We continue tomorrow with the next episode.

An entry from Jonathan Harker's journal, as he journeys to and arrives at Castle Dracula. It's time to meet the count himself! Next episode will drop in two days, on 7 May, as we continue with Jonathan Harker's journal.

Today, an entry from Jonathan Harker's journal. Look for the next episode tomorrow.

Beginning an audiobook journey through Dracula by Bram Stoker, according to The Chronological Edition as edited by Andrew Heenan. Installments will drop according to the dates indicated in Stoker's book. This episodes includes Heenan's preface and an entry from Jonathan Harker's Journal. Look for the next episode tomorrow.

n this preview it's May 5: Jonathan Harker arrives at Castle Dracula. This episode references the racist pseudoscience of craniometry. Transcript here. This episode featured: Ben Galpin as Jonathan Harker; Sivan Raz as the Hungarian Man and additional voices; Mihai Matei as the driver and additional voices; Madi Opincaru as the German-speaking traveler and additional voices; Ioana Adăscăliței with additional voices; Graham Rowat as Peter Hawkins; and Karim Kronfli as Dracula. Directed by Stephen Indrisano. Dialogue editing by Stephen Indrisano. Sound design by Tal Minear. Featuring music by Travis Reaves. Produced by Ella Watts and Pacific S. Obadiah, with executive producers Stephen Indrisano, Tal Minear, and Hannah Wright. A Bloody FM Production. Learn more about your ad choices. Visit megaphone.fm/adchoices

Katie and Liv get their vampire on (again!) and discuss Francis Ford Coppola's Bram Stoker's Dracula. With Johnathan Harker, Jack Harkness, some absolutely wild accents and truly decadent horniness.

Listen to us… the podcast of the night… what beautiful nonsense we make!! That's right, we're sinking our teeth into the movie that we can honestly say started it all - the 1931 Universal Studios classic, DRACULA!! Along the way, we stake our claim on uneven Bela Lugosi impersonations, connect the dots with the Brides and an infamous Ghostbusters BJ, unpack Bram Stoker's repressed personal history for juicy clues, and Patrick offloads every weird piece of history he learned as a Universal Studios Backlot tour guide about this film!! All that, plus the Van Helsing and Van Halen crossover you've always wanted, we expose the beta duck that is Jonathan Harker and play the immortal game: Choose Your Own Deathventure!! We never drink… wine, but you'll want to guzzle down every drop of this week's Kill By Kill!! Our TeePublic shop for killer merch is right here: https://www.teepublic.com/stores/kill-by-kill-podcast?utm_campaign=18042&utm_medium=affiliate&utm_source=Kill%2BBy%2BKill%2Bpodcast%2B Join the conversation about any episode on the Facebook Group! Follow us on IG @killbykillpodcast Check out the films we've covered & what might come soon on Letterboxd! Get even more episodes exclusively on Patreon!   Follow our station on vurbl: https://vurbl.com/station/2bdTISeI3X/ Artwork by Josh Hollis: joshhollis.com Kill By Kill theme by Revenge Body. For the full-length version and more great music, head to revengebodymemphis.bandcamp.com today!