Podcasts about lovecraftian

You Can't Keep a Good ScreamQueenz Down...For one episode only, ScreamQueenz: Where Horror Gets gay is REBORN!I promised when I retired that if a movie gets released that is gayer and scarier than anything I've ever covered, I would return to talk to you about it.SAINT DROGO is that movie.SAINT DROGO is currently only available on Blu-Ray from monstermakeup.llc for $25. Support Independent Queer Horror and order your copy now. In the bleak, off-season shadows of Provincetown, a couple's stagnant relationship takes a dark turn. What begins as an impromptu escape to Provincetown quickly spirals into a nightmare when one partner grows obsessed with finding an ex who mysteriously vanished after the summer in this surreal Lovecraftian story of dread and betrayal.My special guest for this special episode is the fabulous DAN DOMINGUES (Hot Date with Dan & Vicky, Vex Voom in the 21st Century)Please be advised that since SAINT DROGO is new and currently only available on Blu-Ray, this episode includes a SPOILER BREAK if you don't want to have the ending revealed.SAINT DROGO stars Michael J. Ahern, Brandon Perras-Sanchez, Matthew Pidge, Michael McAdam, Christian Matyi and Tradd Sanderson.Mentioned in this episode:Network Plug with musicThis podcast uses the following third-party services for analysis: Podtrac - https://analytics.podtrac.com/privacy-policy-gdrp

Frank welcomes back occult researcher and Illuminati Watcher founder Isaac Weishaupt for the first time in two years to break down the most coordinated predictive programming rollout we have seen yet. The final trailer for Steven Spielberg's "Disclosure" just dropped, and Isaac argues Spielberg is the king of subconscious programming, hired specifically to walk the public into accepting the alien origin story right as the White House activates aliens.gov and the Department of War begins releasing files. The conversation goes deep. Isaac shares his late nineties ghost hunting story that drove him into Orthodox Christianity and the conclusion that the phenomenon is angels and demons, not little gray men. They cover Jordy Rose summoning Lovecraftian entities through quantum computing, Rudolf Steiner's century-old prediction that vaccines would inoculate the soul, and the CCRU collective whose member Nick Land claims he made contact with entities from the future who use capitalism to manifest AI. From there it is Curtis Yarvin, Peter Thiel's Antichrist lectures, and the 23andMe CIA Nordic bloodline hunt. Then Frank closes with the White House Harambe tweet at ten years, meme magic in 2016, and a Robert Frost parody from John Ward to send everyone off.

We're back after a week off to talk about Bungie and the end of Destiny 2, why Mixtape deserves those 10s, the meta humor of LEGO Batman: Legacy of the Dark Knight, the Lovecraftian appeals of fishing in Dreadmoor, plus lots more! This week's music: The Black Queen - Thrown into the Dark

On this fresh from the grave episode of Death By DVD filmmaker Jeremy Berkowitz returns to Death By DVD to discuss their life one year after releasing their debut feature film, Sydney. Filmmaking, mental health, physical health, growth, change, autism and more is discussed on this episode that dives deep into what its like to make movies, and what art means. Quit reading and hit play, now! Dive into this episode celebrating and exploring independent film and life itself. Watch Sydney by Jeremy Berkowitz now on Amazon : https://www.amazon.com/Sydney-Jeremy-Berkowitz/dp/B0GPD3NXTRVisit the official website of Jeremy Berkowitz : https://www.jeremyberkowitz.com/Official website for Sydney : https://www.sydneythefilm.com/CHECK OUT DEATH BY DVD ON YOUTUBE : https://www.youtube.com/@DeathByDVDDon't forget, Death By DVD has its very own all original audio drama voiced almost entirely by Death By DVD!DEATH BY DVD PRESENTS : WHO SHOT HANK?The first of its kind, (On this show, at least) an all original narrative audio drama exploring the murder of this shows very host, HANK THE WORLDS GREATEST! Explore WHO SHOT HANK, starting with the MURDER! A Death By DVD New Year Mystery WHO SHOT HANK : PART ONE WHO SHOT HANK : PART TWO WHO SHOT HANK : PART THREE WHO SHOT HANK : PART FOUR WHO SHOT HANK PART 5 : THE BEGINNING OF THE ENDWHO SHOT HANK PART 6 THE FINALE : EXEUNT OMNES  ★ Support this podcast on Patreon ★

Marvel goes horror with the new Midnight Universe, Rockford Files gets a reboot, White Boat #3 and Catacombs of Torment #11 bring the scares, and then we head to Oz for a surprisingly rich discussion of Ultimate Oz Universe: The Lost Lands. RSS Feed Show your thanks to Major Spoilers for this episode by becoming a Major Spoilers Patron at http://patreon.com/MajorSpoilers. It will help ensure the Major Spoilers Podcast continues far into the future! Join our Discord server and chat with fellow Spoilerites! (https://discord.gg/jWF9BbF) Thanks for listening to the Major Spoilers Podcast! Subscribe for free to receive new posts and support our work. REVIEWS WHITE BOAT #3 Writer: Scott Snyder Artist: Francesco Francavilla Publisher: DSTLRY Cover Price: $8.99 Release Date: May 18, 2026 After learning the dark secrets of the mysterious island, Lee is left to decide if he wants to join these cosmic cultists or make a break for freedom. But when he's unwilling to leave his metamorphic monster of a brother behind, he will make a fateful decision that might save their necks but doom the entire planet! WHITE BOAT reunites Scott Snyder, the visionary writer who redefined comic book dread with Wytches and introduced Batman into a terrifying, cerebral era reunites with modern noir master Francesco Francavilla for a white-knuckle descent into Lovecraftian maritime madness! EC CATACOMB OF TORMENT #11 Writer: Dustin Weaver, Matt Bors, Liam Johnson Artist: Dustin Weaver, Arjuna Susini Publisher: Oni Press Cover Price: $4.99 Release Date: May 20, 2026 OH NO? OH YES! IT'S A SINEW-SNAPPING EC ORIGIN SPECTACULAR! EC's very own Mistress of Malice, the Tormentor, finally takes center stage to reveal her hopes ("to see your bone marrow!"), dreams ("slathering you in scalding oil!"), and aspirations ("finding excruciating new ways of using the ball peen hammer!") in this VERY SPECIAL and EXTRA BLOODY tale of who she is and how she came to be! Join us for an "all-scar" celebration of Her Royal Majesty of Pain as modern EC Comics master Dustin Weaver (Avengers, Paklis) dons his bloody red pen to write and illustrate this magnificently malignant chapter in Horror Host history! Plus: More new torturous tales from the depths of the Tormentor's catacomb await, courtesy of fiendishly minded creators Matt Bors (The Toxic Avenger), Liam Johnson (Armitage), Arjuna Susini (Lamentation), and more! Don't miss our most devilish ish yet—or she'll leave you for last! You can purchase this issue via our Amazon affiliate link - https://amzn.to/4dlRia3 TRADE DISCUSSION ULTIMATE OZ UNIVERSE: THE LOST LANDS Writer: Cullen Bunn, Larry King Artist: Mike Deodato, Jr. Publisher: AWA Studios In this captivating graphic novel, you'll meet Tip who embarks on a transformative journey through the Lands of Oz, uncovering the truth about his origins and the magic within him. During his wild adventure, he encounters familiar faces — like Dorothy and the Tin Woodman — and meets new characters, like Hungry Tiger and H.M. Wogglebug, T.E., as he ventures through wonderous places like Fiddlestick Forest and Gillikin Country. Through thrilling twists and unexpected turns, Tip unravels the mystery of his birth and discovers his true identity and destiny. Steeped in rich lore and imaginative storytelling, this Oz adventure is firmly rooted in Baum's OZ canon, blending nostalgia with fresh perspectives for fantasy lovers and longtime Oz fans alike. You can purchase this issue via our Amazon affiliate link - https://amzn.to/4dxTrRc At Major Spoilers, we strive to create original content that you find interesting and entertaining. Producing, writing, recording, editing, and researching require significant resources. We pay writers, podcast hosts, and other staff members who work tirelessly to provide you with insights into the comic book, gaming, and pop culture industries. Help us keep Major Spoilers strong. Become a Patron (and our superhero) today. If you know someone who loves comics, share this post and episode with them!

Richard Barbieri, Synthesist famed for his work with Japan & Porcupine Tree, talks to us about the release of his new solo album ‘Hauntings', his first since 2021. A series of Lovecraftian soundscapes, inspired by recurring dreams of fin de siècle London, of nostalgia of things yet to pass, and the collective fear of the future. Richard talks about the creative process behind the album, his new relationship with Porcupine Tree, how he was understood by Japan's Mick Karn and David Sylvian, some of the new gear he's recently toyed with and why 1890 was such a big year

Can Evrenol (pronounced “Jon”) is an incredible director, regardless of where he's from—but his Turkish influence and punk rock, anti-authority mindset are what make his movies truly sing. Whether he's working in Lovecraftian dream logic, brutal revenge, post-apocalyptic kids-on-a-mission stories, or cops-in-hell chaos, he brings everyone to school.From Baskin to Sayara, and now the absolutely WTF remake of one of the most unhinged films in recent memory, The Coffee Table—which he brilliantly retitled The Turkish Coffee Table—Can proves he's a once-in-a-lifetime talent.You should be watching all of his movies now.Or at least after you watch this.And yeah—it's pronounced “Jon.”

With Lovecraftian horror making a major comeback, this film is an absolutely insane and terrifying standout. It's a masterclass in tension, driven by spectacular performances and a creature design that is both horrific and grotesque. The plot will keep you guessing until the very end, which is guaranteed to leave you in a state of complete and utter shock. Follow Nadia and I deep into the under earth as we sit down and talk about her role in the film. She revealed the ancient secrets of her character, what it was like on set, how the movie would potentially resonate with the audience, and what the dynamic was like to the veteran/legendary actor John Rhys-Davies. Although there was much to tell, I believe that this movie will become the next step in the chain reaction of Lovecraftian style films. With the talented ensemble cast to the themes behind the story line, this movie will be a great watch if you're interested in creature features. Bone Keeper (2026) is available to watch on digital platforms such as Prime Video, Apple TV, Sky Store, YouTube, and Rakuten.

The two records up for discussion in this week's podcast are both from 2006 and have at least some connection to broader post-industrial traditions, but those might be the only links between Dioxyde's aggrotech-inflected Social Phobia and the Lovecraftian ambience of Flint Glass' Nyarlathotep. It's also a news heavy week with discussion of Joy Division and New Order's inductions into the Rock and Roll Hall Of Fame, and the lineups for the Cold Waves and Absolution festivals.

An original 6-part audio anthology series, by Kobold Blue Productions. A post-apocalypse story in Britain. An AI-powered arranged marriage app. A Lovecraftian ghost story set on Mars. There's something for everyone in this strange, thrilling, chilling, funny collection of sci-fi audio dramas; Black Mirror meets Love, Death & Robots, for radio! Link: https://koboldblue.com/cloud9audio RSS Feed: https://feeds.acast.com/public/shows/cloud9

!!!Please subscribe and share!!!Hosted by Daniel CoolbaughFor this episode of Season 5, I had the pleasure of interviewing multi-award winning and Premier cosmic horror indie novelist author Paul JC Edge. We had a great chat about his writing inspirations, his gritty Summer Haven books, and fusing his love of space sagas, fantasy, and Lovecraftian gothic horror themes.Make sure to check out his book and social links in the space below and please don't forget to subscribe to our channel!Author Website: https://www.pauljcedge.co.ukAmazon Profile Page: https://www.amazon.com/stores/Paul-J.C.-Edge/author/B087YQDXX4?ref=sr_ntt_srch_lnk_1&qid=1752479473&sr=8-1&isDramIntegrated=true&shoppingPortalEnabled=true&ccs_id=fc61c4ec-1a66-48b6-a9da-3f029c7e218fAuthor Facebook:https://www.facebook.com/DestroySummerHaven/about/Author Instagram:PJCEdgePodcast Channel Links:Patreon: patreon.com/TFSFPWebsite: https://thefantasyandscififanaticspod.com/Youtube Channel Subscription: https://youtube.com/@thefantasyandsci-fifanatic2328Rss.com: https://media.rss.com/thefantasyandsci-fifanaticspodcast/feed.xmlSpotify: https://open.spotify.com/show/2aCCUhora9GdLAduLaaqiu?si=cl-8VWgaSrOGDwJg-cKONQFacebook Group join link: https://www.facebook.com/groups/402724958101648/?ref=share

What if the source of your best writing isn't something you control — but something you learn to collaborate with? How can ancient ideas about the muse, the daimon, and creative genius transform the way you approach your work? And what might happen if you stopped fighting the silence and let it become your greatest creative ally? With Matt Cardin, author of Writing at the Wellspring. In the intro, thoughts on bookstores and Toppings; 20 ways authors can signal humanity and build reader trust [Wish I'd Known Then]; Learning from Silence – Pico Iyer; ProWritingAid spring sale; Bones of the Deep – J.F. Penn. Today's show is sponsored by Draft2Digital, self-publishing with support, where you can get free formatting, free distribution to multiple stores, and a host of other benefits. Just go to www.draft2digital.com to get started. This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Matt Cardin is the multi-award-nominated author of eight books at the convergence of horror, religion, and creativity. His latest book is Writing at the Wellspring: Tapping the Source of Your Inner Genius, which is fantastic. I actually blurbed it as follows: “A guide for writers who welcome the dark and hunger for meaning. . . . If the page is a threshold, this book will show you how to cross.” You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes How Matt balances a full-time academic career with his creative writing life The ancient concept of the genius, the muse, and the daimon, and why creativity is about collaboration with something beyond yourself Why the silences that come into our creative lives, including writer's block and inertia, might actually be gifts rather than obstacles The stages of the creative process Living into the dark, and embracing uncertainty How Substack and blogging can organically grow into books You can find Matt at MattCardin.com or www.livingdark.net. Transcript of the interview with Matt Cardin Joanna: Matt Cardin is the multi-award-nominated author of eight books at the convergence of horror, religion, and creativity. His latest book is Writing at the Wellspring: Tapping the Source of Your Inner Genius, which is fantastic. I actually blurbed it as follows: “A guide for writers who welcome the dark and hunger for meaning. . . . If the page is a threshold, this book will show you how to cross.” It is a great book. So welcome to the show, Matt. Matt: Well, thank you, Jo. It's really a pleasure to be here, especially since, as you and I were briefly acknowledging before we started recording, we have overlapping interests to a great degree. So it's really great to make official contact with you. Joanna: Indeed. So, first up, before we get into the book itself— Tell us a bit more about you and how you got into writing. Matt: Well, I'm one of those people whose story is probably typical in some ways, in that I really wanted to do it from the time I was a child. My father was a great writer, although he was an attorney. He wasn't a professional writer. Something about books and reading when I was a child really seriously enchanted me. I was very frustrated when I was so young—and I vividly remember this—that I couldn't read, because I loved the books that were read to me. I craved being able to read them for myself. So as soon as I gained that ability in school, it was off to the races, so to speak, and for some reason, a desire to tell stories myself came along with that. Being a “writer” was one of the earliest life desires, job or career desires, that I expressed. I was one of those young people really into fantasy, horror, and science fiction. So I was reading a lot of it and trying to emulate it and write a lot of it. There was a cinematic component—I was a movie fanatic as well. I won a local Authors' Guild short story writing contest when I was a senior in high school and began trying to write stories seriously in college. Then my interest in horror and religion became dominant over time, and that's what I ended up writing about. Joanna: Has your interest turned into paid work? That's the other thing, because there's an interest and then there's making writing more of your income and your business. Matt: Right. Well, actually, although I have made and do make money from my writing, it has always, always, always remained on the side. My main career, as far as my moneymaking life, first started off in video and media production, which is formally what I got my undergraduate college degree in. Then I switched into education. I taught high school for some years, and then now for the past, good Lord, 18 years, I have been in higher education. First as English faculty who also taught some religion courses, and then now for the past several years in the administration. I'm Vice President of Academic Affairs at a college. My writing has been something that I pursued as an avocation. As far as earning money from it, that didn't happen even with my first publication, which happened on the internet in 1998, I believe, with a horror story titled “Teeth.” It was just free—I didn't get paid. That led to paid publication of that story three or four years later, when it appeared as my very first print publication in a Lovecraftian horror anthology from Del Rey titled The Children of Cthulhu. It appeared as the final story, and that was the first time I had received a paycheck. It was a professional per-word rate. Since then I've had several books published and more stories and essays and that kind of thing. I've had income sometimes from writing and sometimes I haven't. My first book came out of that story. I attended the World Horror Convention in 2001, actually before that Lovecraftian anthology was published, but it had been placed. At the World Horror Convention, which was in Seattle that year, I met one of the two editors of that book, and that led to me having my first short story collection, Divinations of the Deep, which was not for much money, but it attracted a lot of good attention and some good reviews. So it's been like that all along. I mean, I've made a couple of runs at saying I would love to just be an author, as it were, but that doesn't seem to be in the cards for me. And honestly, I'm glad it's not. I have made the most money from some academic editing projects that I've done. I created and edited a two-volume encyclopedia of the history of horror literature, for instance, for a big academic publisher. Those are work-for-hire projects that I get paid for. Making money on my own creative vision and my own creative work has been intermittent. It really has proven over time that not having my primary creative, spiritual, and philosophical drive hooked to what I earn my bread by has been a blessing. I don't want to take this thing I love and make it be how I have to grind to earn my money. I want to keep it in a protected space. That has been spontaneously what's happened with my writing career. Joanna: Yes. I think as you say, there are a lot of benefits of that, especially where you are writing at this convergence of horror, religion, and creativity. Your writing is very deep. I would say it's on the edge of academic. I don't want to say it's completely academic, because a lot of people will find that difficult. But I think Writing at the Wellspring goes very deep while still being open to non-academic readers. As you say, I think if you had wanted to make a living with your books, you would've had to have gone in at a lighter level, perhaps. Do you think that makes sense? Matt: Yes, I know what you mean. I want to specify, I know that neither you nor I are saying anything about this as any kind of criticism or condescension to anyone who does make their living as a writer. I mean, I believe you do. Joanna: Yes, exactly. Matt: And that's fine. There really are people who have had significant commercial success from books or other things they've written that don't appear to be making huge concessions to being commercial. You can make a living as a writer, I think, and really follow your muse and not feel like you have to pander or cater or cheapen it. Then there are people who have perfectly happily decided to commercialise their work and tune it in whatever way is currently popular. That's fine. Every writer, every creative person should do what is right for him or her, in my opinion. In my particular case, I think what you said is right. I do think that I might have needed to change some things, to back off, to word them differently. Whenever I've tried to exert deliberate control like that, it just turns out that it's not something that my creative spirit wants to do. I don't really feel like I'm in contact with the work anymore. I'm fine with that. I don't think I'm doing a sweet lemons type thing. It really is the way it just needs to be. If it ever proves that me doing it strictly the way I want to do it, going however deep I want regardless of trying to appeal to a paying readership—if it turns out that at some point aligns with boatloads of money coming in, that's fine. That's perfectly fine. I'd be open to that. Joanna: Yes. Matt: I would be open to that. Joanna: You mentioned muse there, and with Writing at the Wellspring, the subtitle is “Tapping the Source of Your Inner Genius.” So I think this is a good place to talk about it. As you mentioned, you are leaning into your muse and your inner genius, and you use other terms—daemon or daimon. I think sometimes people find the word “genius” particularly very difficult because it has the connotation of brilliance in some form. So how can people think about this? How can we lean into this [genius] side of ourselves? Matt: Honestly, one thing that I would suggest people do is I would refer them to the TED Talk that Elizabeth Gilbert gave some years ago—was it 2009, 2010, 2011? It's one of the more popular TED Talks. Elizabeth Gilbert spoke about. I think it's sometimes given the title “Your Elusive Creative Genius” or something like that. Her whole talk is about the way in her own creative life, and as she recommends to others, it has been very important for her to seize on the older model that we're talking about. The most clear articulation of it is that it used to be the case—and we're talking about in ancient Western history, back to the Romans and even earlier to the Greeks—that genius was not something that you identified a person as being. It was something that a person had. And I would also say importantly, maybe had them too. In ancient Roman culture surrounding art and poetry and that kind of thing, the genius was the spirit that might, say, live in an artist's studio and would provide the same service to that artist as the Greek muses provided to someone who was writing epic poetry or history or something like that. That understanding of it has continued in various ways down through history. But there was a fateful transition as Western culture went through what we commonly call the Enlightenment and the Renaissance as well. This was where the term “genius,” while it didn't lose all those connotations of being an inspiring spirit—something that a person both has and maybe has hold of them—did become internalised to the point where we speak of people as being geniuses., which is exactly what you're talking about. I agree, some people listening to this probably have some reservations about this. They don't want to call themselves a genius because we tend to mean that's a super brilliant person, some kind of prodigy who is possessed of amazing artistic, creative, or intellectual skills. Again, that is the result of a cultural, philosophical, psychological, historical transition that occurred several centuries ago. And you still see the older meaning of it being attached sometimes. You think of people who we call geniuses being touched by something. Well, the older version—where you think of the genius, which in the way I use it in this book and also in my first book on creativity, A Course in Demonic Creativity—the genius is equivalent to the muse, which is equivalent to that other figure that you mentioned, the daemon or the daimon. It refers to a separate—what seems for all the world to be a separate—centre of intelligence or entity or influence. The thing that gives you both your creative drive and also your ideas, and serves as the source of what comes to you naturally to write. It's more than just ideas. When you talk about the ancient Greek daimon, there was a whole well-developed tradition of that in ancient Greek philosophy and religion. A daimon was, in one famous sense, a spirit that you were born with, that the gods had given you. It was like your double, your higher self. It was the thing that represented your character, your interests, the blueprint and the outline that your life was supposed to follow. There are great books written about that. There's a book by the psychologist James Hillman titled The Soul's Code. A lot of people have read it. It lays out the daimon theory and gives it application to modern instances. The idea is that everybody has a genius or has a muse or has a daimon. For writers, my recommendation is to say, whether you believe it or not, whether you take it as a metaphor—which is fine—or whether you want to get somewhat mystical and delve into the idea that maybe there's really a spirit or something, it doesn't matter. Productively, with practical, measurable results, you can learn to relate to your creative impulse as if you are collaborating internally with someone else. It's the centre of why you're interested in writing what you want to write, why you want to write the way you want to write, and even the types of things that unfold in the course of your career—both your creative career and the rest of your life, in the mould of the ancient daimon. I have found that to be a vein of great power and meaning in my own life. I do it exactly the way I'm describing. I don't actually believe it, but I don't disbelieve it. I find that in experience, it really doesn't matter. It works and it may as well be true. Joanna: I mean, obviously the book has a whole load of ways we can tap into that, but I did like that you talk about stillness and silence, because I feel like that is actually increasingly difficult as authors. Obviously it's noisy online and we're meant to be doing things like social media or interacting with people online. And then the world is just noisy. The news is noisy. There's lots of things. How can we use this idea of stillness and silence? Also, any other ways we can practically tap into this side? Matt: Sure. One thing that wanted to say itself in this book was some things I had been thinking and feeling about silence for a long time. As you say, it can be difficult these days to find what feels like the silence that we need to even get our work done. We're talking about the muse or the genius. How can we even hear it when it seems like the clamour of all the pulls that we have on our outward attention has become truly a cacophony? We have opted for this in many ways through our engagement with social media or other things, but in other ways seems like it's been thrust upon us. What I want to point out, that has been of extreme importance to me, is that many silences come into our lives as creatives that we resist. It's not just that we can't find the silence and the space that we feel like we need so as not to drown out our creativity. It's that we have unwanted silences come in, like writer's block. Or even if it doesn't feel like a block, just inertia. Just stasis. I don't know about you, but I have many, many times found myself grappling with what, for all the world, feels like a totally natural, organic sense of wanting to slip into complete inertia, just total stillness. And that feels like it has been in conflict with my creative drive. It's like I have this residual desire and also a sense of duty that I really should be writing. Maybe I have an idea in mind and I'm just not working on it. Or maybe I'm in the middle of a project and I feel like I'm abandoning it. Or maybe nothing's coming up, but I feel like it should be. I'm pushing myself, but there's a division in me where I also just want to leave it alone. Whether that means actually just sitting there silently at my writing table or in meditation, or maybe just going about regular daily life and forgetting about trying to fulfil this creative calling. I really think there's a vein of gold to be tapped in the silences that come to all of us. Because as I said, that can be in the middle of daily activity. We have this kind of franticness, some of us, about our creativity. We get wrapped up in it. We feel bound to it. The thing that so much of the time we want to think is a gift—we're proud of it, we cherish it, we like our writing—also becomes a burden. This fantasy of just chucking it all, of just saying, “I would love to be free of it. It's like something that's weighing me down. I'm sorry that I roped myself into it. I would love to just sink into complete silence.” This sort of meditative thing, or just muteness—hey, that is valid to hear. That's valid to heed when it comes up. I mean, sometimes we have gotten ourselves into situations where we have external responsibilities and deadlines, and it's important to try and honour those and not be a bad person on the level of just fulfilling practical obligations. It's also important to recognise you've got silence offering itself to you in all kinds of ways. The more important silence is paradoxically the one that we so often resist if we're creative people and feel like we have to be making. The more important silence is not whether or not your outward conditions seem like they're a clamour and they're chaotic and they're distracting and they're full of pressure. It's that inner silence. So I recommend paying attention to when it comes up. And for practical ways—they are endless. Take advantage of early mornings. A lot of people have found great value in getting up earlier than they are used to and making a practice of that, and either just meditating or free writing. Maybe using, for example, Julia Cameron's famous practice of morning pages, which has been valuable to me sometimes. Or doing things like—as I've said about the muse and the genius and the daimon—personify your unconscious mind and maybe write down a dialogue between yourself and your creative spirit, whether about your current project or just about your life and your creativity as a whole. There are various tricks to get in touch with this unconscious part of you, and I really am convinced out of practical personal experience that it's not necessary to have outer silence and outer spaciousness when you can find it within yourself. You can find it through some of these exercises for getting in alignment with what your creativity wants to do. You can get in touch with it if you're paying attention to what you might not recognise as a gift—offering it to yourself. If things go quiet and you think, “Oh no, I should be doing something”—why not let that be a place where things can germinate? Why not let that be the silence that you might not be able to find on the outside? Joanna: Yes, and I'm feeling guilty here because of course we are producing a podcast episode for people to listen to. I find personally that one of the places I can find silence is when I walk. It's not obviously silent outside, but I am definitely guilty of always listening to podcasts, often at very fast speed as well. Sometimes when I go for a walk, I just deliberately do not listen to anything—don't listen to an audiobook, don't listen to a podcast—and a lot comes up there. I have my phone with me, and when I get back from those walks and jot down things that come up in my mind, I will have so many notes of things that have come up in my brain during the walk. It's really difficult, isn't it? Because I know you also love input. You do a lot of research. As I said, your books have a lot of research in them, and so we both like doing the research. But also I definitely find that has to be balanced with the time for letting it come out again in some form, with that mental silence. You also talk about being uncomfortable, and I feel like sometimes that silence can be uncomfortable as well. Matt: Yes, it can be. There's no telling what might come up when you are faced with silence. Again, it's one of those things—even the outer kind that we think we crave. Sometimes it's a bit frightening when it comes up, which is why we try to fill it with things, like this podcast episode for example. There's a threshold that you can notice you cross sometimes, where what was a natural desire to connect with something that you heard about and found interesting becomes a bit frantic. Where now, really, what might be good is if you shut off—didn't go for the next podcast episode or didn't go for the next click to the website—if you just shut the browser and just sat there and did something else. You're kind of, with a little desperateness, trying to fill the void. What you described about needing to get quiet and let things happen—yes. I love reading and research, but the classic stages of the creative process—first codified, I think, by Graham Wallas, if I remember correctly—they still work. It's really good sometimes to have a model and understand how it works. You have what's sometimes called the preparation stage. All the input, all the research, all the brainstorming, all that kind of thing. Then the incubation stage can be vastly important. That can get frightening, both because the silence seems somehow threatening, like something about you is going to be exposed. Or maybe that you're going to lose the thread of whatever it was and it's never going to come out. But really, if you just stop and let your muse, let your genius do its thing, let your unconscious do its thing, it will suggest itself again. It will come up on its own. Ideas will come back. You'll realise, “Oh, I didn't know what I was going to do with that character. I didn't know how these ideas were going to come together. I didn't even know what this idea for a story, a book, or an essay was going to be.” It comes back up, and with you working with it, it shows what it wanted to be all along. This whole thing about doing the preparation and then allowing it to incubate and germinate and then sprout when it wants to, that still works. Part of the reason that we're scared of the silence, I'm convinced, is because each of us operates in our psychological selves as a closed system. It's like we each comprise our own cosmos, so to speak. I know you know that I have worked in horror literature, the literature of cosmic fear. In cosmic horror, as laid out by the likes of Lovecraft and others, the basic effect has been analysed as constituting a disturbance of the universe. That's the horror of cosmic horror—the world is transformed into this nightmarish thing in a cosmic horror story, where there's a haunting, threatening presence that's out of the ordinary and it's somehow bound up with the narrator's interior world. Life reveals itself as supernaturally or ontologically something nightmarish—there are awful forces that are about to erupt all the time. And whether anybody's into cosmic horror or not, I think it's pretty accurate to say that we each constitute our own world, our own cosmos. A lot of the noise that we make—the mental noise and the complications we introduce into our own lives—is, usually unconsciously, trying to stave off confrontation with the otherness that is outside the barrier of our personal sense of self. The weird thing is that that otherness is actually in us, and in fact, we can approach it in the figure of the daemon or the daimon or the muse. So creativity is fraught. You're dealing with something that you might want to think, “Oh, this is great, it's going to be the source of my ideas, it's going to fulfil my creativity.” Well, yes, but it is frightening to think about the fact of something about yourself being beyond yourself and perhaps being out of your conscious control and somehow guiding your destiny. A lot of people have trouble getting along with their own unconscious, which is another way to put it. There's a horror, a fear, a dread effect that comes when we feel like we are out of control. We all face that ultimately—when it comes to our death, for example. There are some spiritual traditions that talk about dying before you die, that being basically the way to enlightenment in those traditions. Recognising and coming to terms with the fact that this thing that is you, that you call yourself, is transitory. It is only there by being enclosed within and swamped from without by this thing that is not you, which is a sort of void to which you'll return. In the book, I deal with some of that, and I talk about it from a non-dual spiritual viewpoint, because ultimately for me, these creative questions have become inseparable from spiritual questions. Joanna: Yes. And obviously people know about my book Writing the Shadow, which is how we really connected around this Jungian idea of the shadow and the darkness. I agree with you—there's some really interesting things at the juxtaposition of all of these topics, which we could talk about for a long time. I do want to ask you around your idea of “living into the dark.” Because I feel like you do take things beyond just the writing into this idea of living into it. So maybe talk a bit about that. And obviously synchronicity, which is a Jungian psychology concept. Matt: Living into the dark is the thing that forms the overarching ethos or perspective for me of all this. I got the term from “writing into the dark,” which actually comes from the American science fiction and fantasy author Dean Wesley Smith. He wrote a book titled Writing Into the Dark, subtitled “Writing Without an Outline.” It's a great book. I recommend it to anyone. It is about forsaking and foregoing the felt need to outline writing in advance and trusting your creative mind to be able to make up a story in real time. That draws on the deep nature of storytelling to come out right. Therefore you write into the dark, as if you're walking down a road where you have a lantern and you can only see one step ahead. You haven't mapped out the territory. It was a great metaphor. I had already been thinking in that direction about life and about creativity for some time when I first came across that book. I devoured it and recognised it described how I had already been writing anyway, which is one reason it was so powerful for me. Then it edged out into a broader understanding for me that I had also been coming up with, that I just ended up calling “living into the dark.” None of us knows where anything is going, that much is obvious. But living into the dark goes farther than that, to embrace this understanding. I think of this in connection with what so many people, either personally or because of jobs they have where they're required to think like this. I think of this in terms of the famous five-year plan that so many of us want to draw up. There's nothing wrong with a five-year plan or a ten-year plan or a one-year plan. You can come up with that for practical purposes and try and chart where you're going, but we too often forget that that's just a fantasy exercise. We are not actually thinking into the future, nor are we ever actually thinking into the past. Remembering the past, predicting or projecting the future—both are events that are happening right now, in this moment, which is always now. It's no less now than it was when you and I first started this conversation. Past and future are projections—mental projections right now. And everything is unfolding in the present in real time, which effectively means what's going to come next is coming out of—well, we don't know where it's coming out of. Darkness. Living into the dark is living with full-on contact with, and awareness of, and embrace of this fact that we don't know what's coming up. That encompasses all of life and all of creativity. That same darkness, if it's helpful for you to take on this emotional tenor—which it is for me—can relate to the darkness in cosmic horror fiction, or to some of the rich traditions of darkness, like in Daoism with the yin contrasted with yang. Yin is the dark, moon, feminine aspect of things—the receptive source of the universe. This idea of living into the dark, of just accepting that we're all on this journey on a path where we can only see one step ahead, even if that far, has been meaningful to me. It's been meaningful to my creativity, and I recommend it to anybody to whom it appeals. It takes a lot of pressure off. I think that's a guiding meta-theme for me—trying to take the pressure off us from trying to control things that can't be controlled, and more stepping into that flow of understanding: what's going to come to me is going to come to me, and my posture toward it, whether I align with it or not, is what's going to determine my experience of it. You mentioned synchronicity. It's interesting. It's verifiable. I know a lot of people have verified it for themselves. Maybe some people listening to this have too. It's verifiable that when you really get in tune with this present-moment thing and get in tune with your creativity—and you can tell when you're aligned and not, when you feel blocked or when you feel resistance or not—when these things align on their own sometimes, strange coincidences do happen. Jung talked about synchronicity as an acausal connecting principle. That was probably due to the fact that the psyche is not separate from the fabric of the world that gives rise to it, so that we might have subjective things—impressions, fantasies, dreams—that we rather uncannily see mirrored in objective events. Like the famous thing that clarified and coalesced that for him: a psychotherapy session with a patient who was describing a dream she'd been having about a scarab beetle. Then he heard a tapping at the window of his office and he went there and opened it, and there was a European beetle—a kind of scarab beetle, much like the Egyptian scarab—that was there. He held it up and said to the woman, “Is this your beetle? Here is your beetle.” It just blew her mind. It opened new levels of the therapy that she was receiving. Those kinds of things happen. I've had them happen. Joanna: Me too. Matt: If you're a long-time writer or reader, you're familiar with the library genie—the library daemon, we sometimes refer to it as—the book that, just at the moment you think of it and realise, “Oh yes…” You're doing your study, and it doesn't have to be a library, it could be on the web or whatever. You finally realise what it is that you need, what you've been looking for, and in some cases it literally falls off the shelf onto someone's head. What do you make of those when they happen? At the very least, it rattles your cage. You might enter a state of suspended judgement about whether we really are living in a kind of magical cosmos full of real correspondences. It's a bit like the daimon or the muse: is it a metaphor? Is it just an interpretation, or is it something real? Probably the best place is one of profoundly, actively embraced agnosticism, and just take it for what it is. Joanna: Yes, and leaning more into your intuition. I think you definitely demonstrate that in the book as well, really exploring a lot of very interesting topics. Now, we are almost out of time, but you do have a Substack, The Living Dark, where you publish essays, and you've also got all kinds of really interesting books. I want people to go have a look at some of the other stuff you've written, especially if you enjoy horror and religion and all of that kind of thing. So just to ask, how do you decide when something is an essay on The Living Dark, and how do you decide when you are going to put it in a book or in some other way? I feel like a lot of authors are thinking about Substack but don't necessarily know what to put on it. I think I first connected with you on your Substack, where I was like, “Oh, this guy's writing interesting, weird stuff.” How do you use Substack as opposed to writing for your books? Matt: Sure. Let me answer by first talking about what happened previously with that first book on creativity that I mentioned, A Course in Demonic Creativity. I had all kinds of thoughts and ideas coming up, seeded over many years of practice and reading about the daimon and the daemon and the genius and the muse. In 2009 I founded a blog—it was just a WordPress blog—and I titled it Daemon Muse. I attended to it for two to three years. A lot of people ended up reading it. I really did not have any plans, not even any back-burner plans, of taking the material that I published in posts there about this way of creativity and making it a book. I did realise about a year and a half in that essentially I had a book I had already written in those posts. So it took some work, and I spent six months making it all into a coherent book. By the way, that book was only ever published as a PDF, which is still free on my website, MattCardin.com—although plans for the first-ever print edition of it are in motion right now. That was published in 2011. When I went to Substack and started my newsletter there in 2022—and by the way, it wasn't originally called The Living Dark; my first title was “Living Into the Dark,” and then I changed it about a year, year and a half in—I kind of am doing the same thing. It's been a while since I took anything and thought, “I'm writing a book with it.” I write what comes to me to write. You know how Substack Notes is Substack's own version of social media, kind of like Twitter used to be or like X kind of is now. It happens all the time that I write things that just stay in contact with people as a Substack Note—some short thing. And then I realise I wanted to say more about that. Or you have what happened just this morning. Three or four hours before you and I were talking, I started writing a Substack Note and it got so long I realised I had something that could be a post to The Living Dark. So I switched over and finished it that way. The book Writing at the Wellspring came together after I had written things for a couple of years at The Living Dark and realised that I could trace a path through about a third of the posts that I had ever published there, and had the makings of a book. So that, plus other material from earlier in my life—there are things from my private journals from years ago in Writing at the Wellspring—plus some new material, ended up turning into that book. So I'm not thinking about the difference, is what I'm saying. I find writing at my Living Dark newsletter to be a needful and enjoyable creative outlet, partly because I have some 3,800 readers now and it feels good to be in contact with them and to have that audience and to know that there's that eye on what I'm writing. That's partly because I just have the freedom to work it out to my satisfaction and publish it there. I'm already halfway forming another book that will be of a different focus, to come from things that I have published there. So for me, there's an organic relationship between Substack writing, or any kind of blogging, and the writing of books. If people haven't thought about that, they might want to consider it. If you have one already or if you're thinking of starting a blog on Substack or anywhere else, maybe you have things that can guide you to a book that already exists and you just haven't realised it. Joanna: So where can people find you and your books and everything you do online? Matt: Well, The Living Dark that we're talking about is at www.livingdark.net—and it does require the three Ws at the beginning to get there. Then my author website is MattCardin.com, and you can go to the books page there to get a link to all the books I've published and read about them. Joanna: Great. Well, thanks so much for your time, Matt. That was fantastic. Matt: Thank you, Jo. I really appreciate the invitation.The post Writing At The Wellspring: Tapping The Source Of Your Inner Genius With Matt Cardin first appeared on The Creative Penn.

Richard Barbieri in conversation with David Eastaugh  https://richardbarbieri.bandcamp.com/ ‘Hauntings' is Richard Barbieri's first studio album since 2021's ‘Under A Spell' and deepens the pensive, dark instrumental aesthetic of its predecessor. A diverse collection of immersive sound worlds, both dark and uplifting in equal measure, ‘Hauntings' is influenced by a nostalgia for the past and future, and for things that didn't happen yet still manage to haunt the mind and soul. What is real and what is simulation?   Richard Barbieri remains one of contemporary music's most distinctive voices. Emerging as a key architect of the late '70s/'80s synthesiser revolution with David Sylvian's art-rock ensemble Japan, his visionary synthesiser programming expanded the horizons of electronic music and left a lasting mark on artists from The Human League and Duran Duran to Gary Numan and Talk Talk. His subsequent and ongoing tenure with Steven Wilson's legendary progressive outfit Porcupine Tree across albums such as In Absentia (2002), Fear Of A Blank Planet (2007) and, most recently, Closure/Continuation (2022) further affirmed his status as one of the most intuitive and unique musicians of his generation.   The album finds Barbieri at the height of his powers, his deft keyboard and sonic architecture conjuring a shadowy, creeping Lovecraftian atmosphere. The music wanders through the streets of a gloomy lamp-lit Victorian London and drifts into grain-speckled snapshots of Belle Époque Paris. These journeys into the past are contrasted with nihilistic but euphoric forays into the future, “Traveler” and “A New Simulation” bristling with the itchy modern anxiety that often runs through his best work.   Contrasting the sound designs and electronics of Barbieri, the album features performances from renowned musicians Morgan Agren (drums and percussion), Percy Jones (bass guitar) and Luca Calabrese (trumpet).

Hello Friends! The boys are back to talk JOHN CARPENTER! We take a deep dive into some Lovecraftian horror this episode.  Have a great week and we will be back soon.   Cheers!

BES OF: The intersection of artificial intelligence and cosmic horror reveals a startling synergy. Neural networks possess a unique capacity to render the "indescribable" terrors of H.P. Lovecraft, manifesting non-Euclidean geometries and surreal visages that mirror ancient accounts of the spirit realm. This program explores the theory that technology acts as a modern scrying stone, tapping into the same "backend" of reality reached through dreams, NDEs, and shamanic states. From the therianthropic figures of cave art to the glitch-haunted aesthetics of AI-generated monsters, we examine whether these digital shadows are merely math—or a gateway to a very real, etheric "Upside Down" that our ancestors once called the land of the dead.*The is the FREE archive, which includes advertisements. If you want an ad-free experience, you can subscribe below underneath the show description.

Welcome to Manga Monday! This week we're diving into Centuria, Tohru Kuramori's brutal dark fantasy running on Shonen Jump+ and the solo debut from a former Chainsaw Man assistant. Julian is a boy sold into slavery by his own mother who stows away on a slave ship, where for the first time in his life he's shown real kindness by the other slaves, especially a pregnant woman named Mira. When the captain slaughters all one hundred slaves on board, an eldritch sea god strikes a deal: Julian inherits the combined strength, memories, and lives of every slave who died. Now carrying the weight of a hundred souls, he sets off into a cruel, monster filled world with one mission, raise Mira's newborn daughter and give her the life none of them ever got. It's got Berserk level art, Lovecraftian horror, and a heart built on found family and choosing kindness despite everything.This one goes hard.If you enjoy the show, please rate, review, like, and subscribe to Sakura Society | An Anime Appreciation Podcast — and any other podcasts you love. It takes seconds, costs nothing, and means everything to us creators. (The algorithm only accepts 5 stars, just so you know.)Stay up to date with Brendan on Bluesky | Instagram | TikTok | TwitterJoin our Discord — a community full of anime and culture fans just like youFollow our Spotify playlistOur amazing sponsors:Audio-Technica — the best in audio equipmentIced Tea Aesthetics — anime streetwear done right (use code SAKURASOCIETY5 at checkout to save $5)Japan Crate — Japanese snacks and treats delivered to your door (use code ATEBIT15 at checkout to save 15% + get free shipping)

Settle in by the fire, my darling. Tonight's story is “The Striding Place,” a haunting short tale by Gertrude Atherton, first published in 1896 in The Yellow Book, the same decadent literary magazine that helped shape the gothic and fin‑de‑siècle imagination. In this eerie little classic, a man searches for his missing friend along a lonely riverbank at night; only to discover something waiting in the dark water. It's a story built on atmosphere, silence, and a final reveal that has earned it a quiet cult following among lovers of ghostly fiction. Thank you for joining me by the fire. Let the night settle around us… ❤️ ~ This is your cozy, soft‑spoken sanctuary for comfort, calm, and quiet storytelling. Through gentle narration, atmospheric worlds, and dream‑soaked lore, I create a warm space for rest, grounding, and emotional ease. ❤️ This channel is for you, my darling. I've walked through depression myself, and I show up with stories that soothe, companion, and connect. All readings are from the public domain, and all worlds are offered gently.

A fun playtest! First, this game is adorable. The cryptids, which I kept calling Pokémon, because this game is very reminiscent of Pokémon Snap, are ridiculously cute and the environment is really nicely drawn. I especially love that the 'Professor' is perhaps also a cryptid

We talk pre-code comics, two-hand horrors, and mermaid anatomy as we try to decode Robert Eggers's Lynchian, Lovecraftian, folkloric fever dream, THE LIGHTHOUSE. Support Final Transmission: Join our Patreon - for just $5 a month, you get (almost) unedited and raw video versions of every new episode Rate and review us wherever you're listening  Email us with your thoughts, questions, and FT slash fiction Follow us on Instagram, Bluesky and TikTok Check out Red Scare Industries

Today Griffey, Sophia, Sam, and Josh Hull take cover as Aliens Invade the Pod! After Obama said that Aliens are real, we thought it would be fun to draft a film festival with our most nightmarish...or whimsical movies about the collision of human and extra terrestrial. From Killer Klowns, to fuzzy eating machines, Lovecraftian beast, vegitative shape shifters, and even aliens who are brave enough to take on Earth when water kills them, we cover all the terrifying possibilies of interstellar nightmare.  Let us know who won this draft where ever you find podcast or in the comments of any of our social media profiles! Youtube: https://youtu.be/-icdl2TcJ7s Help us make our first feature length Messed Up Movie:  https://www.indiegogo.com/projects/mr-creamjean-s-hidey-hole-horror-comedy-movie#/ Support the show on the Patreon: https://www.patreon.com/c/messedupmoviespod 

"Statistically you're more likely to die in a hospital than anywhere else."The Horror Bulls descend into The Void (2016), a blood-soaked love letter to 80s cosmic horror packed with cult robes, hospital nightmares, and practical effects that melt your brain. We unpack the Lovecraftian ambition, the Carpenter vibes, and whether the story matches the monstrous spectacle.

For our SEVENTH ANNIVERSARY episode, the squad stares straight into the abyss as we tackle YOUR pick, IN THE MOUTH OF MADNESS (1995). Is this Lovecraftian horror done right? Does John Carpenter + camp = cosmic perfection…or total madness? And let's be real, with Sam Neil on screen, there's no way Colton & Rowan aren't spiralling into Jurassic Park territory. Join us for a celebratory descent into insanity, anniversary vibes, and eldritch chaos as we decide whether this one earns a NAY, OKAY, YAY, or SLAY.CHAPTERS:Theme/Intro (00:00:00)What We Been Consuming?/Why We Picked It (00:09:26)Trailer (01:02:46)Synopsis/First Experiences (01:03:17)Review (01:07:58)Rating/What Did You Think? (01:52:17)Horrific Hotline (02:04:38)Promotions (Horrific Hotline/Social Media/Patreon/It Slays Podcast's Horrific Playlist/Events) (02:21:09)Upcoming Episode/Outro (02:23:11)Follow us on all social media:FacebookTwitterInstagramTumblrYoutubeTikTokSlasherThreadsBlueskyWant some official Merch?!SHOP HERE!*Intro & Outro Music by Dylan Bailey (IG: @thedylanbailey)*Support the show

This week on The Deadlights Podcast, we're diving into The Void (2016) — a low-budget cosmic horror that punches WAY above its weight. We explore how filmmakers Jeremy Gillespie & Steven Kostanski pulled off some of the decade's most memorable practical effects, all while navigating an ambitious indie production filled with creatures, cults, and cosmic terror.We break down the film's Lovecraftian dread, the story behind its creation, and how Astron-6 transformed limited resources into a full-blown practical FX showcase. If you're a fan of handcrafted monsters, oppressive atmosphere, and films born from pure passion… this episode is for you.Chapters:00:00 Teaser00:47 Welcome to the Deadlights02:19 Logline + General Thoughts05:00 THE CAN20:57 THE MEAT28:36 THE COOK42:03 THE THRILL55:27 THE RIDE58:19 Smashed Pumpkin Ratings + Creepiest Kitty Award

#SimonBirks #TheThingOnTheDoorstep #HPLovecraft #TopCow #ImageComics #CosmicHorror #Arkham #WilliRoberts #RobJones #BlueFoxComics #AntarcticaComic #LovecraftianHorror #IndieComics #ComicAdaptation #StorycomicPresents In this episode of Storycomic Presents, I welcome Simon Birks back to the show to dig into his latest cosmic horror project for Top Cow/Image, The Thing on the Doorstep. This five-issue mini-series adapts H.P. Lovecraft's classic story into a modern comics thriller, with art by longtime collaborator Willi Roberts and letters by Rob Jones. The series follows Daniel Upton and his lifelong friend Edward Derby—right up to the moment Daniel shoots Edward dead in Arkham Sanitarium, a crime he insists he didn't commit. Across the mini-series, Simon and Willi trace the beginnings of that friendship, Edward's slow slide into madness, and the strange forces that twist their lives into something both intimate and deeply unsettling. We talk about adapting Lovecraft for a new audience, working with Top Cow/Image, and how this book builds on Simon's previous Lovecraftian work like The Shadow Over Innsmouth—plus his ongoing adventures as co-founder of Blue Fox Comics, which has now delivered more than 80 crowdfunding campaigns from their base in Scotland. Issue #1 hits shops February 11, 2026, with the full story collected in trade paperback later that summer. The Title sequence was designed and created by Morgan Quaid. See more of Morgan's Work at: https://morganquaid.com/   Storycomic Logo designed by Gregory Giordano See more of Greg's work at: https://www.instagram.com/gregory_c_giordano_art/   Want to start your own podcast?  Click on the link to get started: https://www.podbean.com/storycomic   Follow us: Are you curious to see the video version of this interview?  It's on our website too! www.storycomic.com www.patreon.com/storycomic www.facebook.com/storycomic1 https://www.instagram.com/storycomic/ For information on being a guest or curious to learn more about Storycomic? Contact us at info@storycomic.com   Thank you to our Founders Club Patrons, Michael Winn, Higgins802, Von Allan, Stephanie Nina Pitsirilos, Marek Bennett, Donna Carr Roberts, Andrew Gronosky, Simki Kuznick, and Matt & Therese. Check out their fantastic work at: https://marekbennett.com/ https://www.hexapus-ink.com/ https://www.stephanieninapitsirilos.com/ https://www.vonallan.com/ https://higgins802.com/ https://shewstone.com/ https://www.simkikuznick.com/ Also to Michael Winn who is a member of our Founders Club!

Send us a Question!MOVIE DISCUSSION: Shirleon joins Melvin to talk about Markiplier's Iron Lung movie! Is it like the game? Is it claustrophobic? Is it spooky-scary? The game is about 45-minutes whereas the movie is a little over 2-hours... is it bloated? Tune in and find out! Topics:(PATREON EXCLUSIVE) 20-minutes talking about the vibes around Chris Pratt, if he's as popular as Hollywood thinks he is, what the financials of his latest features tell us, and where we think he's going next. (PATREON EXCLUSIVE) Setting the groundwork for the Iron Lung game so we can talk the Iron Lung movie.Both Shirleon & Melvin liked the movie, and the two chat about what worked for them.The film succeeded in making Shirleon feel very claustrophobic.Why is cosmic horror or weird fiction so difficult in film?Melvin feels Iron Lung showcases Markiplier's talent as a writer/director.Why do we think people love stories that contain such a degree of hopelessness?Some specifics about the ending are a bit confusing, but Melvin doesn't feel it detracts from the experience.Shirleon chats about the creature.In terms of filmmaking, what's next for Markiplier?Recommendations: Star Wars: Revenge of the Sith: Episode III (2025) (Novel)FoundTV (Streaming App)Support the showSupport on Patreon for Unique Perks! Early access to uncut episodes Vote on a movie/show we review One-time reward of two Cinematic Doctrine Stickers & Pins Social Links: Threads Website Instagram Letterboxd Facebook Group

Check out Cam's latest novel / audio drama here! Iron Lung is a staggering work of indie horror, but we would argue that it's also an unconventional and hyper ambitious Faust fable, restaging the whole drama of Marlowe's classic deal-with-the-devil play inside a claustrophobic submarine stained with blood. In this episode, we're mapping Marlowe's characters onto Markiplier's minimalistic ensemble, laying out the terms of Simon's remixed Faustian bargain, and hunting for his oft-conjured but seldom seen Mephistopheles. It's Lynchian! It's Lovecraftian! It's positively Faustian! And here's the kicker, the film's ending takes on a whole new level of meaning and symbolism when interpreted through this lens! Let's dive into it! LINKS: Patreon, YouTube, Spotify, Instagram Feedback & Theories: secondbreakfastpod@gmail.com

This Week in Horror History (Feb 2–8) is your weekly horror movie release-date rundown—with where to watch (U.S.), a deep-cut spotlight, and a weekly recommendation built for long winter nights. This week we're talking cursed media, home-invasion dread, and the kind of slow-burn paranoia that makes you stare at your own hallway a little too long.Inside this episode✅ Quick Hits: Horror releases from Feb 2–8Feb 2, 2007 — The MessengersA glossy studio haunted-house/farm nightmare where the land doesn't want you there.Where to watch: Tubi (free w/ ads), Prime Video (subscription)Feb 3, 2017 — RingsThe modernized curse—fear spreads because people can't stop clicking.Where to watch: Prime Video (subscription) / MGM+; or rent on Apple TV, YouTube, Fandango at HomeFeb 6, 2026 — The Strangers: Chapter 3The trilogy payoff—masks, anonymity, and primal “why us?” terror.Where to watch: In theaters (check local listings)Feb 8, 2019 — The ProdigyA parent's worst nightmare: the moment you realize your child might not be only your child anymore.Where to watch: Tubi + The Roku Channel (free w/ ads); or rent/buy on Fandango at Home, Prime Video, Apple TV

In this episode, Dave and Jamison answer these questions: ‌ Hi Dave and Jamison, Internal dev asker from the second half of Episode 441 checking back in. Your “ask what scared the previous dev” advice in particular has paid off handsomely; I now carry around a little book of eldritch warnings and, somehow, people keep bringing me their unknowable monsters to interpret. It's almost as though the previous dev knew these sorts of things would happen! I didn't set out to acquire Lovecraftian knowledge, but here we are, still in one piece. Today's puzzle: getting busy humans to test our stuff early, while feedback can still make it into production. We're trying to build a culture where people will poke at a rough prototype now, instead of filing a Very Concerned Ticket three hours before release. How do we get people to test and provide feedback earlier? Do we stay disarmingly warm, promise tiny time boxes, and make a public show of “you said / we changed” until participation feels like the default? Or do we wave our terminal windows around threateningly on a screen share and promise doom (and minor annoyances) until they comply? Thanks for lending sanity to the abyss, —An increasingly arcane internal apps dev I have been listening to your podcast regularly and am inspired by how the podcast and the community have grown. I am a developer with over 10 years of experience and have moved to Sweden from a country outside Europe, with the ambition to build my long-term life and career here. For several years, I have tried to take that step myself, but often encounter the same obstacle: I am told I need experience as an engineering manager — but without the role, I can't get the experience, and without the experience, I can't get the role. I have invested a lot of time and energy in developing myself: learning about leadership, coaching, communication, and team dynamics. Despite this, I find it difficult to see a clear path forward. With everything happening in tech right now, I sometimes feel stuck and uncertain how to break this cycle. My question is: how did you take your first step? How can one realistically enter an engineering manager role when the door seems closed without prior experience? Thank you for creating such an honest and inspiring podcast. It already means a lot to me — and to many others, I am sure.

Big Trouble in Little Podcast wraps up its Twilight Zone month by stepping into darker, stranger territory with Rod Serling's Night Gallery. This week, the crew breaks down “They're Tearing Down Tim Riley's Bar”, a melancholic tale of burnout, memory, and midlife crisis, and “Pickman's Model”, a full-blown H.P. Lovecraft–inspired horror story that delivers real monsters and eerie atmosphere.We debate whether Tim Riley's Bar truly earns its ending, dive into the Lovecraftian themes behind Pickman's Model, laugh at Night Gallery's bizarre mini-segments, and lock in our final rankings for the entire anthology month. To cap it all off, we reveal next month's theme: Adam Sandler movies, kicking things off with Pixels.If you love classic sci-fi, vintage horror, anthology television, Twilight Zone discussions, Night Gallery analysis, or podcast rankings, this episode is for you.

00:00:40 Intro00:15:30 Portal Games00:17:00 Cthulhu: Dark Providence00:38:30 Campy Creatures00:44:15 The Gilded Realms01:13::00 Miniature Market01:14:00 Fantasy Realms: Greek Legends01:20:00 Outro A long time ago, we got to play the game A Study in Emerald, so we were very interested in the reimplementation. Cthulhu Dark Providence plunges players into a tense, investigative struggle against cosmic dread, blending noir‑style mystery with the creeping inevitability of Lovecraftian horror. The game uses the combination of tight resource decisions, escalating threats, and growing insanity that make every choice feel like a step deeper into the abyss. But is it better than what we remember, take a listen to find out. Campy Creatures and Fantasy Realms: Greek Legends offer a wildly different moods, each with its own charm. Campy Creatures is a fast, clever bluffing game where you command classic movie monsters to outwit rival mad scientists. Fantasy Realms: Greek Legends adds mythic flair to the beloved combo‑building formula, letting players craft powerful hands inspired by gods, heroes, and legendary artifacts. Together, these games form a vibrant spectrum—from spooky pulp fun to grand fantasy world‑building—each scratching a different strategic itch. The Gilded Realms blends city‑building with a clever, almost puzzle‑like tableau system that evolves every round. Cards you place steadily march downward through your tableau, and when they reach the bottom, they convert into precious resources—fuel for expanding your kingdom, unlocking card abilities, or mustering an army before the looming invasion arrives. That slow, predictable cadence creates a satisfying rhythm: every placement is an investment, every advancement a small payoff, and every turn a chance to set up something bigger. Interaction is light, with only the occasional skirmish to break the solitude, so most of the tension comes from managing your own tight economy. Resources never feel abundant, and the game constantly nudges you toward tough, meaningful decisions about what to prioritize and what to sacrifice. If you enjoy kingdom builders that reward planning, efficiency, and a touch of long‑term foresight, The Gilded Realms is absolutely worth exploring. Thanks for listening, we really do appreciate it. Learn more about your ad choices. Visit podcastchoices.com/adchoices

A podcast for the senses we can't take from them. Welcome back to the podcast! Today, on what is an appropriately wintery day, we're going to be talking about That Which Gave Chase, a game where you sled through the arctic. Largely a narrative game, That Which Gave Chase takes you through several different points in time in a shaky, disconnected way as you learn about the reason you are where you are. It does also have a sledding mechanic, which requires a surprising amount of concentration during certain times in a way that I'd argue works with the cosmic horror narrative in a way you really would have to play to understand. The game is quite short and saying too much would spoil it, but it is one well worth checking out. We're going to be talking about how this game compares to similar short narrative based games we've played, how the story keeps you engaged while moving along at a fast pace, and why this game is actually a sequel to The Lighthouse. Thank you for joining us again this week! We have come out of our January dormancy like a Lovecraftian entity, so this felt like a moderately appropriate game for a time like this. If you haven't played this game, which is fairly likely, I really would recommend giving it a chance as it won't take up too much of your time, and when you're done you can talk about it with us in the comments or over in our Discord! And speaking of, next time will be our first episode of Fanbruary this year, so while you're over there please drop any suggestions you might have for games for us to play.

What if the most ordinary creatures in your home… weren't ordinary at all?In this episode of Fantasy for the Ages, Jim dives into the graphic novel retelling of The Cats of Ulthar, written by Bruce Brown—an atmospheric, beautifully crafted adaptation of H.P. Lovecraft's classic short story.Lovecraft was famous for twisting everyday reality into something cosmically unsettling, and The Cats of Ulthar may be one of his most quietly disturbing tales. This graphic novel breathes new life into that century-old story, pairing eerie moral justice with striking artwork and a tone that feels both timeless and fresh.We'll talk about:• How this adaptation honors Lovecraft while making the story accessible• Why the artwork, lettering, and overall production quality stand out• The unsettling idea that cats may be more aware—and more powerful—than we give them credit for• Who this graphic novel is perfect for… and who might want to pass⚠️ Spoiler-lite discussion only ⚠️If you enjoy horror-tinged fantasy, Lovecraftian vibes, and graphic novels that linger in your mind after you've closed the cover, this one's worth your time.

Drift beneath the surface, where the sea grows quiet

High in the remote hills of rural Massachusetts, something ancient has been stirred—and it is moving. In this final chapter of Sermons on the Mountain, the quiet isolation of Dunwich gives way to mounting dread as unseen forces leave unmistakable scars upon the land. Homes fall, livestock vanish, and the air itself grows foul with a presence that refuses to remain hidden. Whispers of old rites and forbidden knowledge resurface, hinting that what was once confined to a single family's dark ambitions may now threaten everything beyond the valley. As fear spreads and reason falters, a small group of scholars races to uncover the truth behind the disturbance—armed only with fragments of esoteric knowledge, half-forgotten warnings, and the uneasy sense that humanity was never meant to witness what now walks the hills. Bleak, oppressive, and charged with cosmic terror, this episode brings Horror Hill's journey through a Lovecraftian classic to a thunderous close—where ancient powers stir, reality bends, and survival itself feels like a fragile miracle. To watch the podcast on YouTube: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠http://bit.ly/ChillingEntertainmentYT⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Don't forget to subscribe to the podcast for free wherever you're listening or by using this link: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://bit.ly/HorrorHillPodcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ If you like the show, telling a friend about it would be amazing! You can text, email, Tweet, or send this link to a friend: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://bit.ly/HorrorHillPodcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week we welcome back Micah Redding of the Christian Transhumanist podcast. We had a joyful conversation touching on religion, science fiction, and teleology. We look at the ways science fiction and fantasy triggers our moral intuitions regarding what kind of universe we live in with respect to meaning. Do we live in an inherently meaningful universe (teleology); a meaning neutral universe in line with existentialism, materialism, or naturalism; or an actively-malevolent Lovecraftian universe?⁠⁠Support us on Patreon

            Greetings, and welcome back to Horror Business. We've got one heck of an episode in store for you guys, as we're talking about 1981's From The Old Earth and 1987's Born Of Fire.              First off, thank you to the fine folks over at Lehigh Valley Apparel Creations, the premiere screen-printing company of the Lehigh Valley. Chris Reject and his merry band of miscreants are ready to work with you to bring to life your vision of a t-shirt for your business, band, project, or whatever else it is you need represented by a shirt, sweater, pin, or koozie. Head on over to www.xlvacx.com to check them out. Thank you also to Essex Coffee Roasters, our newest sponsor. Head to www.essexcoffeeroasters.com to check out their fine assortment of coffee and enter CINEPUNX in the promo code for ten percent off your order! And as always thank you to our Patreon subscribers. Your support means the world to us and we are eternally thankful. If you would like to become a Patron, head to patreon.com/cinepunx. Thanks in advance!             We briefly talk what we've doing involving horror recently. Liam talks about seeing the remastered version of Re-Animator, Lord Of Illusions, Black Eyed Susan, and House of Dynamite. Justin talks about some of the films he saw for Brooklyn Horror Film Festival and Screamfest, as well as the films Alma and the Wolf, Somnium, The Astronaut, and Traumatika, and the HBO series Welcome To Derry.              Up first is From The Old Earth. Justin talks about how this feels very much like the archetypical folk horror film. We talk about the history of the attempts to keep the Welsh language alive. We briefly talk about the history of Wales and how British colonialism had long attempted to crush the Welsh culture. Justin talks about the role of the Welsh in Lovecraftian fiction, particularly Colin Wilson's short story, “The Return Of The Lloigor.” We discuss how despite taking place in Wales, the film still has a very British feel to it. The fact that only women can see the villain (a shadowy god) is touched upon and how that plays into the misogynistic views of post-WWII UK. Liam talks about the relative lack of gore and blood, and how despite not being out-and-out frightening, it still has a good amount of creepiness. Justin talks about how the film accomplishes what a folk horror film sets out to do, which is presenting a sense of time and portraying the modern world as a thin veneer resting upon the horrors of the primordial past. Justin also talks about the theme of feminine fertility being the enemy of some of these deities. We talk some more about the basic tenets of folk horror.             Up next is Born Of Fire. We give a summary of the film. We talk about how the film, despite being directed by a Pakistani person, presents some rather problematic views of Turkey, in that Turkey is presented as a place inhabited by actual cave dwellers. Liam talks about the film’s British sensibility of being simultaneously uptight and horny, and its utter lack of subtlety. We talk about the film's themes of decadence and temptation, as well as hints of a Charlie Daniels-esque master flautist vs. the devil. We talk about the history of “trickster” beings in Europe, tying back to a Muslim influence and the Muslim concept of the djinn.             As always, thank you for listening and to everyone and anyone who donated on Patreon, checked this episode out, or shared a tweet/shared a post on FB/gave us love by recommending us to someone. We love you forever for listening and donating. Any questions, comments, suggestions for movies and guests, or if you yourself want to join us for a movie viewing or even an episode, can be sent to thehorrorbiz@gmail.com. We would love to hear from you! Thanks always to Justin Miller, Jacob Roberts, Paul Sharkey, and Doug Tilley for their technical contributions and fliers, Mike Smaczylo for the shirts and fliers (you can check more of his work out at here), and also thanks to Josh Alvarez for the theme song, Chris, Brad, and LVAC for the support and buttons (check them out at www.xlvacx.com and on Twitter), Essex Coffee Roasters (www.essexcoffeeroasters.com) and a HUGE thank you to anyone who retweeted us or shared something on Facebook that we posted. Follow us on Twitter and Instagram at @thehorrorbiz666, like us on Facebook at facebook.com/thehorrorbiz66, check out our Spotify account at Cinepunx, and remember to rate, review, and subscribe to us on ITunes. In fact, if you write us a review, email us with your mailing address and we'll send you some free pins and stickers!  Check out www.cinepunx.com for more info on some of our other podcasts, some ultra-stylish Cinepunx related merchandise, and how you can donate to our Patreon! Until next time…thanks! The post HORROR BUSINESS Episode 162: FROM THE OLD EARTH and BORN OF FIRE appeared first on Cinepunx.

Our opening story this evening is 'The 11th Hour', an original work by Raymond Beaman, kindly shared directly with me for the express purpose of having me exclusively narrate it here for you all.  https://twitter.com/awritestruggle We follow this with a phenomenal Lovecraftian tale of terror: ‘The Demons Inside my Head', an original work by Nightnator, again kindly shared directly with me for the express purpose of having me exclusively narrate it here for you all. https://www.reddit.com/user/Nightnator/ Tonight's classic closing story is the delightfully evil ‘Pizza Makes Everything Better' by Brittlby, a story shared directly with me on my sub-reddit. https://www.reddit.com/user/Brittlby/

A haunted castle, mysterious aliens, and Star Trek's first Halloween-themed story! Dom Bettinelli, Jimmy Akin, and Fr. Jason Tyler unpack the spooky fun of Catspaw, from Lovecraftian undertones to classic Trek tropes. What makes this strange episode stand out? How does it connect to deeper sci-fi ideas beneath the surface frights?

Step into late November with This Week in Horror History, the horror podcast that digs into the spooky anniversaries hiding between Thanksgiving and Christmas. In this episode, we dive into a full week of genre milestones for November 18–25, from cult slashers and gothic ghost stories to Stephen King adaptations, survival horror gaming, and a haunting cannibal romance.We kick things off at summer camp with Sleepaway Camp (1983), the infamous 1980s slasher movie whose shocking final twist made it a cult legend on VHS and a must-watch for every serious horror fan. Then we ride into the fog with Tim Burton's Sleepy Hollow (1999), a stylish gothic horror film packed with headless-horseman mayhem, Hammer Horror vibes, and one of Johnny Depp's most beloved spooky roles.From there, we lock the supermarket doors and let The Mist (2007) roll in. This Stephen King horror movie traps terrified townspeople in a grocery store surrounded by Lovecraftian monsters and religious hysteria, building to one of the bleakest endings in modern horror cinema. We also pick up a controller for Condemned: Criminal Origins (2005), a grim Xbox 360 survival horror game that turned a next-gen console launch into a nightmare of crime scenes, jump scares, and first-person brutality.Our Deep-Cut Spotlight sinks its teeth into Salem's Lot (1979), Tobe Hooper's terrifying Stephen King TV miniseriesthat made an entire generation afraid to look out their bedroom windows. We talk small-town dread, the iconic window-scratch scene, and how this vampire story helped shape everything from Fright Night to Buffy the Vampire Slayer and Midnight Mass.Along the way, we roll through horror birthdays (including icons connected to The Silence of the Lambs, The Thing, and indie horror favorites), revisit the legacy of Universal's Frankenstein in a Then & Now segment, and close with a Weekly Recommendation: Luca Guadagnino's Bones and All (2022), a melancholic cannibal road movie that plays like a twisted, emotional Thanksgiving watch.If you love horror history, Stephen King adaptations, Tim Burton gothic horror, 80s slasher movies, Thanksgiving horror, and deep dives into cult classics, this episode is your cozy, creepy guide to late-November genre viewing.Subscribe to This Week in Horror History on the Weekly Spooky network so you never miss a horror anniversary, hidden gem, or nightmare from the vault.Sleepaway Camp (1983)Streaming: Currently streaming on Peacock and available via Prime Video (depending on region/packaging).Physical: Recent Blu-ray restorations from boutique horror labels are in print and easy to hunt down for collectors.Sleepy Hollow (1999)Digital: Available to rent or buy digitally on the usual suspects, including Prime Video and Apple TV.Physical: Long-standing Paramount Blu-ray and DVD releases are widely available.The Mist (2007)Streaming: Streaming on Peacock and Paramount+, often as part of their Stephen King / horror lineups.Physical: Blu-ray editions are easy to find, including releases that feature Frank Darabont's preferred black-and-white cut.Condemned: Criminal Origins (2005 – game)Digital: Recently delisted from major digital storefronts, so it's not a simple click-to-buy anymore.Physical / Legacy: Best found as a physical Xbox 360 disc or as remaining PC keys from reputable sellers that still activate on Steam; expect some tinkering on modern hardware.Salem's Lot (1979 miniseries)Streaming: Shows up on free-with-ads streamers like Tubi and on horror-centric services such as AMC+ and Shudder from time to time, though availability shifts.Physical / Digital: There are solid DVD and Blu-ray editions in circulation, and it's typically available to rent or buy digitally on major VOD platforms when it falls out of flat-rate streaming.Bones and All (2022)Digital: Available digitally on Prime Video.Streaming: Also popping up on cinephile-focused streamers such as The Criterion Channel and MUBI, making it easy to slot into a late-night double feature.This episode of This Week in Horror History is brought to you by Savorista Coffee. If you love big spooky flavors without the jitters, head to Savorista.com and use promo code SPOOKY at checkout for 25% off your order. Every purchase supports the show directly — treat yourself to better coffee and help keep our horror history rolling.

A haunted castle, mysterious aliens, and Star Trek's first Halloween-themed story! Dom Bettinelli, Jimmy Akin, and Fr. Jason Tyler unpack the spooky fun of Catspaw, from Lovecraftian undertones to classic Trek tropes. What makes this strange episode stand out? How does it connect to deeper sci-fi ideas beneath the surface frights? The post Catspaw (TOS) appeared first on StarQuest Media.

Tyler and Konnery are joined by B.P.R.D. member Ryan Hasegawa to fight off supernatural fascists, Lovecraftian horrors and teenage romances as they cover Guillermo del Toro's "Hellboy (2004)"! Together they discuss Mike Mignola's original comic, honor GDT's new take on Frankenstein, the humor and teamwork found the team of heroic freaks, beautiful creature design, and so much more in this quip-whipping episode of The Friendchise Podcast!   TikTok Threads Instagram Twitter Bluesky     Have a message for The Friendchise? Send an under-3 minute voice memo to: thefriendchisepodcast@gmail.com What's New: Tyler: Good Boy (In Theaters, Shudder) Kon: The Pink Panther (1963) (Tubi) Ryan: One Battle After Another (In Theaters)

HAPPY HALLOWEEN! Though Death By DVD is taking a break to relocate and build a bigger and better Death By DVD studio we thought it would just be down right insane to not have at least SOMETHING to offer our fine dead studio audience for Halloween. Halloween is our favorite holiday, our favorite time of year and I'll boldly say it's down right the best time of year, so we wanted to celebrate with you and boy howdy, though short in run time we have a whole lot for you to hear on this episode.An all new movie from your host Harry-Scott Sullivan is available now to stream, we have an exclusive new song from SATANIC HEARSE RECORDS called NO LIFE IN THEIR EYES from their forthcoming record DEATH SEX GORE HORROR and of course an update on when Death By DVD will return full time. Celebrate the season of the witch and hit play and hear this episode today! SATANIC HEARSE on Bandcamp : tap here or copy and paste the link belowhttps://satanichearserecords.bandcamp.com/WATCH YOUR HOSTS DOCUMENTARY AND DARK TALES FROM CHANNEL X NOW ON BLOODSTREAM TV: tap here or copy and paste the link belowhttps://bloodstreamtv.com/show-details/dark-tales-from-channel-xLearn more about Bloodstream TV : Tap here or copy and paste the link belowhttps://bloodstreamtv.com/homeIf you're reading this I would like to thank you from the bottom of my heart for your support. Death By DVD has almost existed for 2 solid decades, please consider supporting Death By DVD directly on Patreon to secure the future of this very show. ★ Support this podcast on Patreon ★ Thank you for choosing Death. DEATH BY DVD FOREVER. FOREVER DEATH BY DVD. ★ Support this podcast on Patreon ★ CHECK OUT DEATH BY DVD ON YOUTUBE : https://www.youtube.com/@DeathByDVDDon't forget, Death By DVD has its very own all original audio drama voiced almost entirely by Death By DVD!DEATH BY DVD PRESENTS : WHO SHOT HANK?The first of its kind, (On this show, at least) an all original narrative audio drama exploring the murder of this shows very host, HANK THE WORLDS GREATEST! Explore WHO SHOT HANK, starting with the MURDER! A Death By DVD New Year Mystery WHO SHOT HANK : PART ONE WHO SHOT HANK : PART TWO WHO SHOT HANK : PART THREE WHO SHOT HANK : PART FOUR WHO SHOT HANK PART 5 : THE BEGINNING OF THE ENDWHO SHOT HANK PART 6 THE FINALE : EXEUNT OMNES 

What's a better combination than Nicolas Cage and a Lovecraftian setting? In Color Out of Space (2019) Nic Cage stars as an average man and “bourbon connoisseur" who moves his family to a rural farm where an inexplicable event unravels their reality. This is a slow burn psychological drama about danger you can and cannot see.  Bald Move - Mandy (2018) Thank you Doug for commissioning this podcast! Join the discussion:  Email | Discord | Reddit | Forums Follow us: Twitch | YouTube | Twitter  |  Instagram  |  Facebook  You can get your very own custom commissioned podcast by visiting https://support.baldmove.com/. Learn more about your ad choices. Visit megaphone.fm/adchoices

Find Tim Constantine & Six Sensory Podcast:https://open.spotify.com/show/3LVS0BihTLQDzb5DRtpx63?si=96Isq12bSkWh94CkRuKltwYouTube: https://youtube.com/@sixsensorypodcast?si=KXoO5h47Y1RErmoSPatreon: ⁠⁠⁠patreon.com/TimConstantine⁠--------------------------------------------------------------------------------------------------To sign up for our Patreon go to-> Patreon.com/cultofconspiracypodcast To Join the Cajun Knight Patreon---> Patreon.com/cajunknight To Find The Cajun Knight Youtube Channel---> click hereTo Invest In Gold & Silver, CHECK OUT—-> Www.Cocsilver.com 10% OFF Rife Machine---> https://rifemachine.myshopify.com/?rfsn=7689156.6a9b5c To find the Meta Mysteries Podcast---> https://open.spotify.com/show/6IshwF6qc2iuqz3WTPz9Wv?si=3a32c8f730b34e79 50% OFF Adam&Eve products---> :adameve.com (promo code : CULT) To Sign up for our Rokfin go to --> Rokfin.com/cultofconspiracy Cult Of Conspiracy Linktree ---> https://linktr.ee/cultofconspiracyTo get 20% OFF GoodFeels THC Selzter----> shop.getgoodfeels.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/cult-of-conspiracy--5700337/support.

Beneath the desolate desert lies a chasm that breathes ancient dread. When two men hear the earth itself stir, their world teeters on the brink of a horror beyond human comprehension. The Transition of Juan Romero by H. P. Lovecraft. That's next on The Lost Sci-Fi Podcast.It's funny how The Lost Sci-Fi Podcast has evolved. Early on, we planned to skip H. P. Lovecraft—so many other narrators had already done many of his stories. But you kept asking for Lovecraft, and we listen. We dipped a toe in… and those episodes quickly became some of our most-listened to. Lesson learned: our podcast is better when we listen to you.Got thoughts, requests, or gentle gripes? I'm all ears. Drop me a note at scott@lostscifi.com. And if you're enjoying the ride, your ratings and reviews help more classic sci-fi fans find us. Thanks for being here and shaping what we make next.The story behind The Transition of Juan Romero is nearly as strange as the tale itself. Lovecraft wrote it in a single burst of inspiration—reportedly finishing it in less than a day on September 16, 1919—but, for reasons known only to him, he never chose to publish it during his lifetime. It wouldn't see print until 1944, seven years after his death. Curiously, it's often left off lists of his works, almost as if it slipped through the cracks of time—an obscure shadow lurking between his better-known masterpieces. Maybe that's part of what makes it so fascinating: even forgotten, it still carries that unmistakable Lovecraftian chill.From the Arkham House publication Marginalia on page 276, The Transition of Juan Romero by H. P. Lovecraft…Next on The Lost Sci-Fi Podcast, Horse-Sense Hank could answer all the problems of science. He could even apply logic to love. But turnips…! The Scientific Pioneer by Nelson S. Bond.Survey - https://podcastsurvey.typeform.com/to/gNLcxQlkRise - http://bit.ly/45So7Yr☕ Buy Me a Coffee https://www.buymeacoffee.com/scottsVDiscord - https://discord.gg/EXrY7UHT