Podcasts about lugosi

Scary Spirits Podcast: Celebrating 83 Years of “The Corpse Vanishes” with Bela Lugosi! This week, join hosts Karen and Greg as they delve into the eerie world of the 1942 horror classic, “The Corpse Vanishes,” starring the iconic Bela Lugosi. In this special anniversary episode, they explore the film's chilling plot, memorable performances, and its lasting impact on the horror genre. As they unravel the spine-tingling secrets of this cinematic gem, Karen and Greg will be sipping on a specially crafted cocktail, “The Blushing Bride.” This delightful drink is inspired by the film's haunting themes and adds a unique twist to their discussion. Expect fascinating insights, fun trivia, and a few laughs as they celebrate this milestone in horror history. Whether you're a die-hard Lugosi fan or new to classic horror, this episode promises to be a thrilling ride. Tune in for an engaging blend of cinematic history and delicious mixology. Don't miss out on this spooky celebration—it's sure to be a scream!

Hey everybody! It's the final installment of my spotlight n Universal horror! Joining me is writer, musician, and all around great guy, Scott West! If you've heard us talk Tomb of Dracula then you know you're in for a good time. Scott has a real love for this oft overlooked film, and he and I are giving it its due right here. So join us for a conversation about Karloff, Lugosi, Atwill, Rathbone, and more! As usual, if you'd like to leave any feedback for the show, you can do so through email at Magazinesandmonsters@gmail.com or to me on Twitter @Billyd_licious or on the show's FB page. You can find Scott on Twitter @ScottMWest and on his Substack (https://sarcastanaut.substack.com/), and by checking out his books on Amazon! Thanks for listening.

This week on *The Rotten Horror Picture Show*, Clay and Amanda are doing nothing to help my steadily worsening vampire confusion by taking a big ol' bite out of Werner Herzog's 1979 classic Nosferatu the Vampyre, starring Klaus Kinski as maybe the creepiest Dracula/Nosferatu/Count Orlok hybrid ever filmed. It's moody, it's beautiful, and it's got rats. So many rats. Okay. Look. I'm just gonna say it: I think we've officially hit critical mass on Nosferatus and Draculas. I mean, how many pasty bald guys with capes and long fingernails named “Count Something” does the world *need*? First there was the original *Nosferatu*, then Lugosi's *Dracula*, then Lee's *Dracula*, then the *Nosferatu* remake, then Dracula in space, Dracula in love, Dracula with a podcast probably—I don't know anymore. The point is, I'm starting to suspect these aren't *characters* in movies. I think they might be *real*, and I think they're multiplying. Every time I look around, there's another Nosferatu lurking in a dark corner, hissing at a cat. I'm tired. I'm confused. And I'm scared of capes now.Join Clay and Amanda as they dive into Herzog's eerie homage to Murnau's 1922 silent classic and debate just how many spooky bald vampires is too many. Is Kinski's Count Dracula really just Orlok with a stage name? Does it matter when he's this unsettling? Who gave him permission to move like *that*?One thing's for sure: if another Nosferatu pops up, I'm going into hiding. Probably somewhere with garlic. Maybe in a mall. Wait, no—*not* a mall. We've been over that.Anyway, listen in… while you still can.And be sure to hit up patreon.com/thepenskyfile to hear all the coverage of remakes and reboots this year!

Today on IN FOUR FILMS, we ask Tara Giancaspro: "Using only four films, who ARE you?" She's a New Jersey-based writer, poet, songsmith, pop culture muser, frequent podcaster, actress, production assistant, music video extra and doting mother to two cats, Simone & Lugosi. To call her a multi-hyphenate just feels like I'm underselling it.Tara's four movies:SLEEPING WITH OTHER PEOPLE (2015) dir. Leslye HeadlandNETWORK (1976) dir. Sidney LumetALL THAT JAZZ (1979) dir. Bob FosseBACK TO THE FUTURE (1985) dir. Robert Zemeckis---Subscribe to Tara's Substack: https://substack.com/@taragiancasproFollow Tara on Twitter/Instagram: @sweatylamarr---Please rate, review & subscribe to The Movies wherever you listen to podcasts!Follow The Movies on Instagram & Bluesky: linktr.ee/themovies_pod

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

Gothic endeavors, champions, fan service, the talented Mr. Lugosi, strange thumbs and Dracula!

The ghosts that haunt the Collinwood estate represent the most numerous and diverse group of supernatural beings in Dark Shadows. Some spirits are helpful, offering spectral warnings in attempts to assist the living. Others are malevolent, bent on revenge… or worse. Many are tragic figures, doomed to wander the halls of Collinwood or the Old House for all eternity. Bobby Lugosi and Katherine Gonzales visit the podcast to discuss some of our favorite DS ghosts and revenants! Other discussion topics include Night of Dark Shadows, DS collectibles, and real-life ghostly encounters. Bobby Lugosi is a Rondo Award-winning monster kid influencer who runs the very popular Lugosi Theatre channel on YouTube and social media. Katherine Gonzales runs the Discount Artificial Sweetener channel on YouTube where she posts her song creations (Katherine's lyrics, with music made using AI tools) based on Dark Shadows storylines, characters, and other topics. Terror at Collinwood and Shilling Shockers shirts and merch at TeePublic: https://www.teepublic.com/user/pennydreadfulxiiiHelp support the podcast by donating at Buy Me a Coffin: https://buymeacoffee.com/terroratcollinwoodLugosi Theatre (Bobby's channel) on YouTube: https://www.youtube.com/@DustyOldMoviesLugosi Theatre on TikTok: https://www.tiktok.com/@lugositheatre?lang=enDiscount Artificial Sweetner YouTube Channel (Katherine's DS and other music) – link takes you to playlists for the DS albums she created: https://www.youtube.com/channel/UCFNTse1quncGVPbD7LMFBQQKatherine's Youtube channel featuring her true ghost stories: https://www.youtube.com/@katherinegonzales2036Lyndhurst Dark Shadows July Event: https://www.showclix.com/event/dark-shadows-meet-and-greet-2025Dark Shadows Paper Doll Book Pre-Order from Hermes Press: https://hermespress.com/products/dark-shadows-paper-doll-book?fbclid=IwY2xjawHxNIJleHRuA2FlbQIxMAABHRS7tdKQHJXE63YppMRT6aSM5DOiFUd382_MBdkUp08fladJX7aSwkzrYA_aem_WBC3V1j1Tx8bBXSlofRkswArt of George Wilson pre-order at Hermes Press: https://hermes-press.myshopify.com/products/the-art-of-george-wilson-pre-orderAngelique model kit from Rise 3D Models LINK: https://rise3dprintingshop.com/products/exquisite-3d-printed-replica-of-angelique-bouchard-collins-night-of-the-dark-shadows?srsltid=AfmBOooYwDQb8-vrgkEl7bS2Z8RuZImKRk1zVz_MBsXPO7ebrjaxsjCPMysterious Adventures Dark Shadows summer tour website: https://mysteriousadventurestours.com/tour-item/dark-shadows-supernatural-tour/Clayguy Website: https://www.clayguy.com‘Dracula at the Disco ‘by Ricardo Rebelo on Amazon: https://www.amazon.com/dp/B0DTKVK7D6?psc=1&smid=ATVPDKIKX0DER&ref_=chk_typ_imgToDpNeon Werewolves by Ricardo Rebelo on Amazon: https://www.amazon.com/gp/product/B0DVVH6SKW/ref=kinw_myk_ro_titleSurfing the Shadows surf rock cover of Robert Cobert's Dark Shadows theme by Johnny D & The Moonlighters: https://www.facebook.com/profile.php?id=61552762765082TaC logos by Eric Marshall

Happy New Year! To finish out the year, we talk about Dracula from 1931, starring Bela Lugosi. We talk about how Lugosi's accent laid the foundation for how we all think Dracula sounds, we talk about the campy parts, the shots that were before their time and we talk about who we would cast for a modern remake of this movie. Enjoy the show! --- Support this podcast: https://podcasters.spotify.com/pod/show/featurefilmpod/support

Bill and Thom continue to dissect their favorite films featuring Boris Karloff and Bela Lugosi.

Thom and Bill dissect their favorite films featuring Boris Karloff and Bela Lugosi.

Está no ar mais um episódio do Especial Gótico do Livros em Cartaz! Neste episódio dedicado a Drácula de Bram Stoker Andreia D'Oliveira e Gabi Idealli tentam entender como um escritor irlandês encontrou um conde da Valáquia e o transformou no sinônimo de vampiro. O que está esperando? Vem ouvir! Comentado no episódio Drácula, romance de Bram Stoker O Hóspede de Drácula e outros contos estranhos, coletânea de contos de Bram Stoker Nosferatu (1922 ‧ Terror/Fantasia ‧ 1h 34m), dirigido por F.W. Murnau com Max Schreck como Conde Drácula Drácula (1931 ‧ Terror/Fantasia ‧ 1h 15m), dirigido por Tod Browning com Béla Lugosi como Conde Drácula O Vampiro da Noite (1958 ‧ Terror/Fantasia ‧ 1h 22m), dirigido por Terence Fisher com Christopher Lee como Conde Drácula e Peter Cushing como Van Helsing Drácula (1979 ‧ Terror/Romance ‧ 1h 49m), dirigido por John Badham com Frank Langella como Conde Drácula e Laurence Olivier como Van Helsing Drácula (2020 ‧ Terror ‧ 1 temporada) de Mark Gattis e Steven Moffat com Claes Bang como Conde Drácula e Dolly Wells como Van Helsing Sherlock (2010 ‧ Mistério ‧ 4 temporadas)

In this episode, we're taking a journey back to the eerie roots of horror cinema by exploring the thrilling world of Pre-Code horror films of the 1930s. Joining us is Leslie, a dedicated podcast host, photographer, and true horror fanatic, ready to share insights into some of the most iconic films that defined this genre before Hollywood's Production Code put restrictions on content. These pre-code films were daring, experimental, and unafraid to push boundaries, introducing audiences to terrifying monsters, dark themes, and twisted characters that would shape horror for generations. We begin by delving into the legendary classic Dracula (1931), where Bela Lugosi's portrayal of the Transylvanian vampire set the standard for cinematic horror. Leslie sheds light on how Dracula brought an air of sophistication and dread to horror, with its haunting atmosphere and Lugosi's unforgettable performance, making it a cultural icon and solidifying the vampire as one of horror's most enduring creatures. Next, we turn to Bride of Frankenstein (1935), James Whale's masterful sequel to the original Frankenstein, which brought a new level of emotion and complexity to the genre. Leslie discusses the film's exploration of loneliness and creation, its stunning visual style, and Elsa Lanchester's portrayal of the iconic Bride, who became a symbol of both beauty and horror. The Bride's brief yet powerful presence left a lasting impact on horror cinema and expanded the scope of what horror characters could represent. We also take a closer look at Dr. Jekyll and Mr. Hyde (1931), with Fredric March's Academy Award-winning performance showcasing the duality of human nature. This adaptation of Robert Louis Stevenson's story was one of the first to depict the terrifying transformation of a man into a monster, both physically and psychologically. Leslie shares thoughts on how the film's groundbreaking special effects and dark exploration of identity and morality pushed the boundaries of horror and captivated audiences with its chilling take on inner darkness. For honorable mentions, we discuss other unforgettable films from the era, such as King Kong (1933), a film that combined adventure with horror, captivating audiences with its impressive visual effects and tragic monster. The Black Cat (1934), starring horror legends Bela Lugosi and Boris Karloff, offered a disturbing tale of revenge and occult themes. The Invisible Man (1933) showcased Claude Rains' brilliant performance as the unseen terror, while Island of Lost Souls (1932) delved into themes of science gone wrong with its haunting depiction of genetic experimentation. In closing, Leslie reflects on how these films from the 1930s laid the groundwork for the horror genre, challenging societal norms and fearlessly exploring themes of the monstrous and the unknown. The legacy of these pre-code films lives on, inspiring countless filmmakers and horror fans today, as we continue to revisit these dark classics that dared to push the limits of cinema in a way that still resonates nearly a century later.

A perennial Halloween favorite, the novelty song "Monster Mash" was released in August 1962, and hit No. 1 two months later, just in time for Halloween. The song re-entered the Billboard Hot 100 at number 37 in 2021, almost 60 years after its release.

Episode 378 - Universally Hammered: Dracula Everyone knows the greatest heavyweight matchups of all time. Ali v. Frazier, Tyson v. Holyfield, Marciano v. Walcott. But for us, one matchup stands above the rest. Dracula v. Dracula, Lugosi v. Lee. A quick look at the stats shows no obvious favorite. Lugosi has the stamina and endurance, as well as one of the meanest mugs in the game. Lee has the obvious height and reach advantage. Couple that with his stunning technicolor, and he becomes a pretty formidable foe. But then again, Lugosi can turn into a f***ing bat, so there's no telling where this match could go, but this week we intend to find out. THIS WEEKS MOVIES: Dracula (1931) Horror Of Dracula (1958) THIS WEEKS DRINKS: Austin Brother's Beer Co. - Blood Brothers IPA Follow us! Twitter: @thebuzzedkillPC Instagram: @thebuzzedkillpodcast Facebook.com/thebuzzedkillpodcast

EPISODE 58 - "CLASSIC CINEMA'S HORROR HEROES: BELA LUGOSI & BORIS KARLOFF" - 10/21/2024 When you think of the classic Universal Studios monster movies of the 1930s and 1940s, the two names that come to mind are always BORIS KARLOFF and BELA LUGOSI. These two titans of the horror film genre gave us endless hours of chills and thrills in their portrayal of such iconic movie monsters as Dracula, Frankenstein's Monster, and The Mummy. This week's Halloween episode pays tribute to the films and lives of these two incredible actors.  SHOW NOTES:  Sources: Karloff: The Life of Boris Karloff (1972), by Peter Underwood; The Films of Boris Karloff (1974), by Richard Bojarski; Lugosi: The Forgotten King (1986), Documentary; Boris Karloff: More Than a Monster (2011), by Stephen Jacobs; No Traveler Returns: The Lost Years of Bela Lugosi (2916), by Gary D. Rhodes & Bill Kaffenberger; Bela Lugosi and Boris Karloff (2017), by Gregory William Mank; Boris Karloff: A Gentleman's Life (2018), by Scott Allen Nollen; Lugosi: The Rise and Fall of Hollywood's Dracula (2023), by Koren Shami; “Actor Bela Lugosi, Dracula of Screen, Succumbs After Heart Attack at 73, August 17, 1956, Los Angeles Times; “Boris Karloff Dead: Horror-Movie Star,” February 4. 1969, New York Times; “Boris Karloff Dies In London Hospital at 81,” February 4, 1969, Los Angeles Times; “In ‘The Black Cat,' the Titans of Terror, Karloff and Lugosi, Face Off,” Oct. 26, 2018, New York Times; BelaLugosi.com RogerEbert.com TCM.com; IMDBPro.com; IBDB.com; Wikipedia.com; Movies Mentioned:  BELA LUGOSI: The Silent Command (1923); The Thirteenth Chair (1929); Dracula (1931);  Freaks (1932); Mark of the Vampire (1935); Murder In the Rue Morgue (1932); Island of Lost Souls (1932); The Black Cat (1934); The Raven (1935); Ninotchka (1939), starring Greta Garbo; Son of Frankenstein (1939), starring Boris Karloff and Bela Lugosi; Black Friday (1940); You'll Find Out (1940); The Devil Bat (1940); The Saint's Double Trouble (1940); The Wolf Man (1942); The Ghost of Frankenstein (1942); The Corpse Vanishes (1942); Bowery At Midnight (1942); Ghosts on the Loose (1943); Zombie's on Broadway (1945); The Body Snatcher (1945); Genius At Work (1946); Abbott & Costello Meet Frankenstein (1948); Plan 9 From Outer Space (1957); BORIS KARLOFF: The Lightning Raider (1919); The Hope Diamond Mystery  (1920); The Deadlier Sex (1920); The Hellion (1923); Omar The Tentmaker (1922);  Dynamite Dan (1924); Tarzan and the Golden Lion (1927); The Criminal Code (1930); Frankenstein (1931); Scarface (1932); The Mask of Fu Manchu (1932); The Mummy (1932); The Ghoul (1933); Gift of Gab (1934); The Invisible Ray (1935); The Raven (1935); The Bride of Frankenstein (1935); The Son of Frankenstein (1939); Mr. Wong, Detective (1938); Black Friday (1940); You'll Find Out (1940); House of Frankenstein (1944); The Body Snatcher (1945); Isle of the Dead (1945); Bedlam (1946); The Secret Life of Walter Mitty (1947); Abbott and Costello Meet the Killer, Boris Karloff (1948); The Strange Door (1951); The Black Castle (1952); The Island Monster (1954); The Raven (1963); The Terror (1963); Die, Monster, Die! (1965); Caldron of Blood (1968); How The Grinch Stole Christmas (1966); Targets (1968); The Crimson Cult (1968); Fear Chamber (1968); House of Evil (1968); Isle of the Snake People (1971); The Incredible Invasion (1971); --------------------------------- http://www.airwavemedia.com Please contact sales@advertisecast.com if you would like to advertise on our podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

Ha azt hallod: vámpír, ki jut eszedbe először? Fogadjunk, hogy Drakula!  Valószínűleg azt is tudod, hogy ki alakította őt az első róla szóló hangosfilmben: Lugosi Béla! És azt tudod, hogy a világhírű magyar színész milyen utat járt be Magyarországtól Hollywoodig? Vendégünk Gyurkovics Tamás, aki Akcentus címmel írt könyvet Lugosi Béláról. Vele beszélgettünk a színész életéről: a Tanácsköztársaságban vállalt szerepéről, az emigrációjáról, karrierje mérföldköveiről, a Drakula-film forgatásáról, drogfüggőségéről és Lugosi halhatatlan emlékezetéről.  - Ha szeretnél havi extra tartalmakat kapni tőlünk, akkor gyere a Patreon oldalunkra és válaszd ki a neked megfelelő támogatói szintet. https://www.patreon.com/hihetetlentortenelem Kiemelt Patreon támogatóink: Busa-Fekete Róbert, Lovas Gabriella, Rója Gergő Elérhetőségek: E-mail cím: hihetetlentori@gmail.com Facebook oldalunk linkje Spotify linkünk . Hirdetés és együttműködés: hallgatom@betonenetwork.hu www.betonenetwork.hu Learn more about your ad choices. Visit megaphone.fm/adchoices

El terror pre-código Hays es una de las eras que más me interesan de la historia del género. En esta magnífica adaptación de La isla del Doctor Moreau tenemos a un Charles Laughton inmenso como el malicioso doctor. Y a Lugosi, el pobre, ganado el salario mínimo para sobrevivir.

Bueno, pues llegó el momento del año de hablar de una de Lugosi y Karloff, no? Ésta pseudo adaptación de Poe (muy pseudo) pone a Lugosi en la piel de un malvado cirujano capaz de hacer las más chungas perrerías. Y Karloff es una de sus víctimas.

My friend Chris Herzog joins me to talk about a serial from 1934 – THE RETURN OF CHANDU! Chris hasn't been on the show since we discussed the Johnny Weissmuller Tarzan films back in episode #15. It was Bela Lugosi's starring role that enticed him to come back for a conversation about this fantasy adventure in which the legendary horror actor plays the heroic lead! That's right - Lugosi is the hero in this twelve-part serial. Will wonders never cease?   We discuss the radio show Chandu the Magician, from which this was adapted and the 1932 film that preceded this production in which Lugosi played the villain, Roxor. Neither of us can think of another sequel that recasts the hero to be played by the actor who portrayed the bad guy in the original, but that's what happened with Chandu. We talk about the director's work in Hollywood and his other serials as well as his work with the great William Whitney. We point out the reused sets from KING KONG and marvel at the giant cat statue in the Lemurian temple set. Cool stuff! And we lament that Chandu's family seems to have been put on this earth to serve as eternal victims in need of rescuing. You think he could have let one of them die just to get the others to stay home next time!   If you are a Bela Lugosi fan or a fan of his various serials thebloodypit@gmail is the place to let that flag fly. And if you enjoy the show let us know. Thanks for listening. 

GGACP marks the 45th anniversary of the 1979 release of Nicholas Meyer's terrific sci-fi- adventure film, "Time After Time" by revisiting this mini-ep from 2015. In this episode: Charles Laughton chases skirts, Gilbert tears down "Regarding Henry," Malcolm McDowell meets his future wife and the boys pay tribute to a lesser-known Lugosi classic. PLUS: "Jack the Stripper"! "The Night of the Hunter"! The brilliance of David Warner! And Marlon Brando inspires Mike Myers! Learn more about your ad choices. Visit megaphone.fm/adchoices

El 16 de agosto de 1956 murió Béla Lugosi, un actor austro-húngaro, sumamente conocido por haber interpretado al conde Drácula tanto en producciones de Broadway como el Drácula de 1927, como en la película Drácula de Tod Browning en 1931.

We head back before the code again to look at this "horror" film starring Bela Lugosi and a wicked unibrow. Find out why this film was not a big hit with the crew and the impact the film had on Lugosi's career. Literary License Podcast: https://www.llpodcast.com/Kicking the Seat: https://kickseat.com/ --- Support this podcast: https://podcasters.spotify.com/pod/show/spoilerroompodcast/support

Join us while discuss the legends surrounding Béla Lugosi's mirror. We'll talk about about Béla's life, the unsolved murder of the subsequent owner (Frank Saletri), as well as paranormal experiences people have had with the mirror. Join our Facebook group here: https://www.facebook.com/groups/449439969638764A special thank you to our jam thief, Mary Quiton!https://www.patreon.com/truecreepshttps://www.truecreeps.com/shopwww.truecreeps.comHave an episode idea or a question about a case? Submit them here: https://www.truecreeps.com/ideasandquestionsTwitter @truecreepsInstagram @truecreepspodFacebook.com/truecreepspodEmail us at truecreepspod@gmail.comA Closer Look at the Bela Lugosi “Haunted” Mirror | Skeptical InquirerWatch This: A Bizarre Bela Lugosi Interview from 1932 | Austin Film SocietyAFI|Catalog - Blackenstein: The Black FrankensteinSister of Slain Lawyer Offers $10,000 Reward - Los Angeles TimesFrank R. Saletri - Biography - IMDbA Closer Look at the Bela Lugosi “Haunted” Mirror | Skeptical InquirerCult mum kept children in dog cages - 9NewsThis podcast uses the following third-party services for analysis: Spotify Ad Analytics - https://www.spotify.com/us/legal/ad-analytics-privacy-policy/Chartable - https://chartable.com/privacy

Tom and Julie act out The Big Lugosi and watch clips of Roger Stone dancing and the mummy scene in Scavenger Hunt. Plus the comic strip HEATHCLIFF apparently came up with Summer Mummies before Tom and Julie did??? They reckon with the truth, Heathcliff vs Garfield, and much more. Also real life Space Jam, Lugosi guys vs Karloff guys, the sad end of the Beatles Cirque du Soleil Vegas show, Five Guys, pickled eggs at the bar, the Mutter Museum, You Can't Do That on Television, why can't Hershey go to Cadbury School, Houseguest, Brett's next tattoo, the Polar Bear Run, Perfect Match S2, Ringu Starr, Buffalo Wild Ring, Eric Roberts, Saturday Night Fever, C.W. McCall, Cheesecake Factory hacks, and more! CLIPS FROM TODAY'S EPISODE: *Heathcliff Summer Mummy https://www.reddit.com/r/Heathcliff/comments/15twhtj/081723_the_summer_mummy  *Heathcliff Daily Comic https://www.reddit.com/r/Heathcliff/comments/1e0rhc3/071124_the_prop_comedian/#lightbox *Real Life Space Jam https://www.youtube.com/watch?v=1PmIFxNlQv4 *Houseguest Man https://www.instagram.com/p/C8k8GVKMlEV/?img_index=1 *The Mummy Scene in Scavenger Hunt https://www.youtube.com/watch?v=0KbkmrAHEBY  https://www.youtube.com/watch?v=wVMe6WLiWVk *Roger Stone Dancing https://x.com/ronfilipkowski/status/1808309878353523160?s=12&t=g9WVSx4Y_7l9IM24AfYV2Q SUPPORT DOUBLE THREAT ON PATREON  Weekly Bonus Episodes, Monthly Livestreams, Video Episodes, and More! https://www.patreon.com/DoubleThreatPod   WATCH VIDEO CLIPS OF DOUBLE THREAT  https://www.youtube.com/@doublethreatpod   JOIN THE DOUBLE THREAT FAN GROUPS  *Discord https://discord.com/invite/PrcwsbuaJx  *Reddit https://www.reddit.com/r/doublethreatfriends  *Facebook https://www.facebook.com/groups/doublethreatfriends   DOUBLE THREAT MERCH https://www.teepublic.com/stores/double-threat   TOTALLY EFFED UP T-SHIRTS  https://www.teepublic.com/user/dttfu   SEND SUBMISSIONS TO  DoubleThreatPod@gmail.com   FOLLOW DOUBLE THREAT  https://twitter.com/doublethreatpod  https://www.instagram.com/doublethreatpod   DOUBLE THREAT IS A FOREVER DOG PODCAST https://foreverdogpodcasts.com/podcasts/double-threat   Theme song by Mike Krol  Artwork by Michael Kupperman Learn more about your ad choices. Visit megaphone.fm/adchoices

The first episode of season 7 kicks off with a bang!…literally! As were joined by “The ReVolVer” Alex Reiman and his right hand man Lugosi, we discuss what got Alex into wrestling, where he started, how the brotherhood began with Lugosi, and even discuss the events that happened at pro wrestling magic “turf war” between himself, Danny Maff and his long time rivalry with Shawn Donovan --- Support this podcast: https://podcasters.spotify.com/pod/show/the-wrestling-potcast/support

Jim & Livio know NOTHING about insurance, and neither do the customers of Dr. Orloff. The Human Monster is a 1939 British horror film starring Bela Lugosi (originally titled the Dark Eyes Of London). One of Lugosi's more popular 'poverty row' films, he plays a dual role of Dr. Orloff and the meek and blind Professor Dearborn. Jim & Livio discuss Lugosi's almost-wartime trip across the pond, the production, the 'H' code the film received from censors, and much more! Alternate SidesA movie podcast with a twistListen on: Apple Podcasts Spotify

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

This week, we turn our attention to Bela Lugosi and the 1930s hit, White Zombie. Set in Haiti, this one was the first zombie film ever committed to celluloid, featuring the incredible Hungarian actor, Lugosi, in an iconic role.

Welcome to The Nonlinear Library, where we use Text-to-Speech software to convert the best writing from the Rationalist and EA communities into audio. This is: Infra-Bayesian haggling, published by hannagabor on May 20, 2024 on The AI Alignment Forum. Preface I wrote this post during my scholarship at MATS. My goal is to describe a research direction of the learning theoretic agenda (LTA). Namely, a natural infra-Bayesian learning algorithm proposal that arguably leads to Pareto-optimal solutions in repeated games. The idea originates from Vanessa, I'm expanding a draft of her into a more accessible description. The expected audience are people who are interested in ongoing work on LTA. It is especially suitable for people who are looking for a research direction to pursue in this area. Introduction There has been much work on the theory of agents who cooperate in the Prisoner's dilemma and other situations. Some call this behavior superrationality . For example, functional decision theory (FDT) is a decision theory that prescribes such behavior. The strongest results so far are those coming from "modal combat", e.g. Critch. However, these results are of very limited scope: among other issues, they describe agents crafted for specific games, rather than general reasoners that produce superrational behavior in a "naturalized" manner (i.e. as a special case of the general rules of reasoning.) At the same time, understanding multi-agent learning theory is another major open problem. Attempts to prove convergence to game-theoretic solution concepts (a much weaker goal than superrationality) in a learning-theoretic setting are impeded by the so-called grain-of-truth problem (originally observed by Kalai and Lehrer, its importance was emphasized by Hutter). An agent can learn to predict the environment via Bayesian learning only if it assigns non-zero prior probability to that environment, i.e. its prior contains a grain of truth. What's the grain-of-truth problem? Suppose Alice's environment contains another agent, Bob. If Alice is a Bayesian agent, she can learn to predict Bob's behavior only if her prior assigns a positive probability to Bob's behavior. (That is, Alice's prior contains a grain of truth.) If Bob has the same complexity level as Alice, then Alice is not able to represent all possible environments. Thus, in general, Alice's prior doesn't contain a grain of truth. A potential solution based on "reflective oracles" was proposed by Leike, Taylor and Fallenstein. However it involves arbitrarily choosing a fixed point out of an enormous space of possibilities, and requires that all agents involved choose the same fixed point. Approaches to multi-agent learning in the mainstream literature (see e.g. Cesa-Bianchi and Lugosi) also suffer from restrictive assumptions and are not naturalized. Infra-Bayesianism (IB) was originally motivated by the problem of non-realizability, of which the multi-agent grain-of-truth problem is a special case. Moreover, it converges to FDT-optimal behavior in most Newcombian problems. Therefore, it seems natural to expect IB agents to have strong multi-agent guarantees as well, hopefully even superrationality. In this article, we will argue that an infra-Bayesian agent playing a repeated game displays a behavior dubbed "infra-Bayesian haggling". For two-player games, this typically (but, strictly speaking, not always) leads to Pareto-efficient outcome. The latter can be a viewed as a form of superrationality. Currently, we only have an informal sketch, and even that in a toy model with no stochastic hypotheses. However, it seems plausible that it can be extended to a fairly general setting. Certainly it allows for asymmetric agents with different priors and doesn't have any strong mutual compatibility condition. The biggest impediment to naturality is the requirement that the learning algorithm is of a particular type (namely, Upper Confidence Bound). However, we believe that it should be po...

Before reviewing the new movie Abigail (dir. Matt Bettinelli, OlpinTyler Gillett), Monster Kid Radio revisits the Universal classic Dracula's Daughter (dir. Lambert Hillyer). This was a first-time viewing for Beth, but an old favorite of Derek's and Monster Kid Radio's (see and ). Plus, Mark Matzke's Beta Capsule Review (The Return of Ultraman), Kenny's Look at Famous Monsters of Filmland, and Listener Feedback from Dr. Bob Tesla ( - ) Team Deth YouTube Channel -  Monster Kid Radio Contact Information: Voicemail: (360) 524-2484‬ Email: Monster Kid Radio's Discord Server - Monster Kid Radio on Reddit - Monster Kid Radio on Twitch! - - Monster Kid Radio on YouTube - Follow Mark MatzkeMonster Study Group - Small Town Monsters - Follow Kenny Email Kenny at  Monster Kid Radio Amazon Wishlist - Monster Kid Radio on TeePublic -  Next week on Monster Kid Radio: Dawn of the Dead (dir. George A. Romero) The opening and closing song () provided courtesy of - Monster Kid Radio is a Team Deth Production. All original content of Monster Kid Radio is licensed under a . You can learn more about Team Deth, our other projects like Deth Designs, Mail Order Zombie, Monster Kid Writer, and more at . Please rate and review Monster Kid Radio wherever you download your favorite podcasts. 0:00:26 INTRODUCTION 0:08:28 MARK MATZKE'S BETA CAPSULE REVIEW 0:14:24 KENNY'S LOOK AT FAMOUS MONSTERS OF FILMLAND 0:22:16 DRACULA'S DAUGHTER DISCUSSION 0:40:15 ABIGAIL DISCUSSION, SPOILER-FREE 0:55:59 ABIGAIL DISCUSSION, SPOILERS! 1:12:05 MAIL ORDER ZOMBIE JOURNAL UPDATE 1:14:44 OUTRO

For this week's Profile in Cinemania, Scrutinizer Zacharia plays us a cassette on Hollywood's King of Terror, Bela Lugosi, the man the world knew as "Dracula." Lugosi was a complex and tragic man who fought fascists in Hungary and Weimar Germany; and after achieving fame in America, used his public platform to do some real good in the world while fighting his own private battles. Aside from creating the stereotype of the vampire we all know and love today, he was also responsible for organizing the world's first film actor's union in his native Hungary, and later, helped found the Screen Actors Guild.   Written by Zacharia Berks and Ethan Ireland Performed by Zacharia Berks Caricature Art by Andy Slack Comics Music by Karl Casey at White Bat Audio Tracks used: "Cradle of Shadows," "Gothic," "The Disappearance," and "Last Light."

Boris Karloff and Béla Lugosi. Dracula and Frankenstein togther? In one film? Need we say more about one of the first talkie horror films? The United Nations of Horror is a Podcast about ALL THINGS HORROR! From thrillers of yesteryear to today's modern-day horror, we are here to present fun and intelligent conversation about the genre films we love! Join us and please help spread the word about the United Nations of Horror Podcast and Video Cast to horror fans across the globe! Be sure to join our Facebook Group, as we would love to hear from you! We are available on all fine podcasting networks. A video version of this episode will also be available on our Youtube Channel to watch, although our audio version always drops before the video version. As always, thank you for listening to the United Nations of Horror.

Dr. Nicole (Nykkie) Lugosi-Schimpf is a world traveler and polyglot. She is also an Assistant Professor in the Faculty of Native Studies at the University of Alberta and a qualitative scholar specializing in: International Indigeneity, BIPOC-Indigenous relations (Canada and Central Europe), nation(hood), identity, and structural racism. We had the opportunity to sit down with Nykkie to discuss what inspires her work, how to both teach and learn uncomfortable topics, how to find experts and learning resources, and how silence is the enemy.

Tonight we're chatting with Bobby Lugosi– whose real name is Bobby Zier and whose TikTok channel “Lugosi Theater” (LucyDogYellow2024) has gotten over 2 million likes. He's won a special recognition Rondo award for introducing classic horror to a new generation. His TikTok also encourages others to embrace what they love. Bobby Lugosi plays Dracula at haunted houses and horror conventions and has been shown on Svengoolie three times– we talk about Lugosi, Dracula, and the power of intense interests.

The 5th Horror-fying Day of Christmas is also our 100th episode!!! and what could be a better 100th episode than talking about one of the most famous monsters in Horror History. I sit down with the Stoker and Lugosi families to discuss why Dracula has such an impact on pop culture.  Learn about the Stokerverse, an expanded universe Helmed by Dacre Stoker and Chris McAuley. also find more out about the upcoming Lugosi Biography from Bela's Granddaughter Lynne     Links To Mention:   https://www.facebook.com/profile.php?id=100078984289174 https://stokerverse.com/ http://dacrestoker.com/ https://www.facebook.com/BelaLugosiOfficial https://belalugosi.com/   https://www.facebook.com/profile.php?id=1313785085 https://electronicmediacollective.com/moose/ https://twitter.com/MooseMediainc https://www.instagram.com/paul_moose_harder/ https://www.youtube.com/channel/UCKQJq7_ZnFIjg0vcc5R7F7w  

Welcome to The Nonlinear Library, where we use Text-to-Speech software to convert the best writing from the Rationalist and EA communities into audio. This is: Learning-theoretic agenda reading list, published by Vanessa Kosoy on November 9, 2023 on The AI Alignment Forum. Recently, I'm receiving more and more requests for a self-study reading list for people interested in the learning-theoretic agenda. I created a standard list for that, but before now I limited myself to sending it to individual people in private, out of some sense of perfectionism: many of the entries on the list might not be the best sources for the topics and I haven't read all of them cover to cover myself. But, at this point it seems like it's better to publish a flawed list than wait for perfection that will never come. Also, commenters are encouraged to recommend alternative sources that they consider better, if they know any. General math background "Introductory Functional Analysis with Applications" by Kreyszig (especially chapters 1, 2, 3, 4) "Computational Complexity: A Conceptual Perspective" by Goldreich (especially chapters 1, 2, 5, 10) "Probability: Theory and Examples" by Durret (especially chapters 4, 5, 6) "Elements of Information Theory" by Cover and Thomas (especially chapter 2) "Lambda-Calculus and Combinators: An Introduction" by Hindley "Game Theory: An Introduction" by Tadelis AI theory "Machine Learning: From Theory to Algorithms" by Shalev-Shwarz and Ben-David (especially part I and chapter 21) "Bandit Algorithms" by Lattimore and Szepesvari (especially parts II, III, V, VIII) Alternative/complementary: "Regret Analysis of Stochastic and Nonstochastic Multi-armed Bandit Problems" by Bubeck and Cesa-Bianchi (especially sections 1, 2, 5) "Prediction Learning and Games" by Cesa-Bianchi and Lugosi (mostly chapter 7) "Universal Artificial Intelligence" by Hutter Alternative: "A Theory of Universal Artificial Intelligence based on Algorithmic Complexity" (Hutter 2000) Bonus: "Nonparametric General Reinforcement Learning" by Jan Leike Reinforcement learning theory "Near-optimal Regret Bounds for Reinforcement Learning" (Jaksch, Ortner and Auer, 2010) "Efficient Bias-Span-Constrained Exploration-Exploitation in Reinforcement Learning" (Fruit et al, 2018) "Regret Bounds for Learning State Representations in Reinforcement Learning" (Ortner et al, 2019) "Efficient PAC Reinforcement Learning in Regular Decision Processes" (Ronca and De Giacomo, 2022) "Tight Guarantees for Interactive Decision Making with the Decision-Estimation Coefficient" (Foster, Golowich and Han, 2023) Agent foundations "Functional Decision Theory" (Yudkowsky and Soares 2017) "Embedded Agency" (Demski and Garrabrant 2019) Learning-theoretic AI alignment research agenda Overview Infra-Bayesianism sequence Bonus: podcast "Online Learning in Unknown Markov Games" (Tian et al, 2020) Infra-Bayesian physicalism Bonus: podcast Reinforcement learning with imperceptible rewards Bonus materials "Logical Induction" (Garrabrant et al, 2016) "Forecasting Using Incomplete Models" (Kosoy 2017) "Cartesian Frames" (Garrabrant, Herrman and Lopez-Wild, 2021) "Optimal Polynomial-Time Estimators" (Kosoy and Appel, 2016) "Algebraic Geometry and Statistical Learning Theory" by Watanabe Thanks for listening. To help us out with The Nonlinear Library or to learn more, please visit nonlinear.org.

The Acme Comics Downtown Grand Opening is tomorrow Saturday October 28th! We dig into all of the details and answer some listener questions all while giving praise to James Tynion and Martin Simmond's DRACULA from Image Comics!

We're baaaccckk! Jim and Livio make a spooky return and dive into a fun "Poverty Row" film - The Devil Bat. This is one of several low budget horror movies starring Bela Lugosi from the 40's. We go into Lugosi's impact in these roles, his broader impact in our pop culture, the shortcuts of the production and of course, the film itself. Enjoy just in time for Halloween - and be careful of the aftershave you put on!

What's up, dudes? It's a fun, light hearted episode today with special guests Anthony Caruso from ‘Tis the Podcast and CM Chuck from Just Another Friday Night! That's right! We're talking the General Mills monster cereals! Officially created in 1928, General Mills traces its history back to the 1860's. Introduced in March of 1971, Count Chocula is a chocolate loving vampire designed by George Karn. His cereal, as his name suggests, was made of delicious whole grain corn chocolate flavor frosted cereal and marshmallow bits. His Bela Lugosi-inspired voice was provided by Larry Kenney for the commercials. In the 1980's Count Chocula character was re-vamped (pun intended) with a more svelte physique, a slender nose, and added shading on his clothes. New boxes were introduced, even including a set where Lugosi's Dracula chased a terrified Count Chocula.Franken Berry followed soon after in October of ‘71, also a Karn design. He is a slightly rotund pink version of Frankenstein's creature with sweet strawberry cereal and marshmallows. Voiced by Bob McFadden, he was given a Boris Karloff-style voice.Boo Berry, the blueberry flavored cereal ghost mascot, was released in 1973. His Peter Lorre-tinged voice was provided by Christmas special voice acting legend Paul Frees. Boo Berry is a blue ghost with a red bow-tie and red and yellow hat.Rounding out the cast is Frute Brute, a werewolf introduced in ‘74 and retired in ‘82, and Fruity Yummy Mummy, released in ‘88 and retired in ‘92. Both are fruit flavored cereals. In ‘85 the cereal pieces became ghost shaped, and in ‘89 bat shaped marshmallows were introduced.Hanna-Barbera vibe? Check. Classic Universal Studios Monster pastiches? Uh huh. Loads and loads of sugar? Definitely! So grab a spoon, put on your chocolate cloak, and pour out a big bowl full of this episode on monster cereals!'Tis the PodcastFB: @tisthepodcastTwitter: @tisthepodIG: @tisthepodcastFB Group: Tis the Podcast GroupJust Another Friday NightYouTube: @JAFNpodcastFB: @JAFNpodcastTwitter: @JAFNpodcastIG: @jafnpodcastCheck us out on Facebook, Twitter, Instagram, Totally Rad Christmas Mall & Arcade, Teepublic.com, or TotallyRadChristmas.com! Later, dudes!

In this interview we have the pleasure to interview Lynne Lugosi Sparks, the grand-daughter of Bela Lugosi best know for his iconic role as Dracula and his works within the Universal Horror Franchise. We are so delighted to hear some stories as well as the works for a new Biography set to come out in 2024. --- Support this podcast: https://podcasters.spotify.com/pod/show/gwendolyn-black/support

Join Mysterious Goings On host Alex Greenwood and film critic Lucas Hardwick as they pull back the curtain on the eerie delights of Halloween and horror cinema in their special limited series, Silver Screams. In this second episode, the guys are allergic to the idea of petting THE BLACK CAT. The guys dissect the striking 1934 horror film performances of Bela Lugosi and Boris Karloff, contrasting Lugosi's theatrics with Karloff's subtlety. Beyond this, they analyze the eerie ambiance of the film, notably the Art Deco mansion erected atop a graveyard and the unnerving themes of Satanism. Listen in for more! Buy the movie here. Visit the website for more information and a complete archive of episodes here. + + + + Next Week's Show Hint: It involves a puzzle box. + + + + ⁠⁠"All the Fits That's News": Alex's Substack⁠⁠ (Free) Alex Greenwood on Medium: ⁠⁠https://a-greenwood.medium.com/⁠⁠ (Subscription) Follow him on X/Twitter:  ⁠⁠⁠@A_Greenwood⁠⁠⁠ Follow him on Threads: ⁠⁠⁠⁠https://www.threads.net/@alexginkc⁠⁠⁠⁠ Catch Alex's True Crime Show: GOING TO KILLING CITY. Listen on ⁠⁠Apple Podcasts⁠⁠, ⁠⁠Spotify⁠⁠, and wherever you get your pods! Enjoyed the episode? Please leave us a review on your podcast platform of choice, and don't forget to subscribe for more literary journeys! ⁠⁠⁠LEAVE A REVIEW ON APPLE PODCASTS⁠⁠⁠ For show notes and more, visit the show website at ⁠⁠MGOPod.com⁠⁠. This Mysterious Goings On Podcast episode was recorded and mixed at Green Shebeen Studios in beautiful Kansas City, Missouri. Copyright 2023, all rights reserved. No reproduction, excerpting, or other use without written permission. We are an Amazon Associates seller, and some of our links may earn us a commission. --- Send in a voice message: https://podcasters.spotify.com/pod/show/j-alexander-greenwood/message

Madeline Brumby and Shane Morton join Jim for a rollicking discussion of the Edward D. Wood Jr. cult classic "Bride Of The Monster," starring Bela Lugosi, Tony McCoy, Loretta King, Tor Johnson, Harvey B Dunn, Don Nagle, Dolores Fuller and Billy Bendict. Lugosi plays a mad scientist seeking to create a superhuman race to conquer the world. Find out more on this episode of MONSTER ATTACK!, The Podcast Dedicated To Old Monster Movies.

Madeline Brumby and Shane Morton join Jim for a rollicking discussion of the Edward D. Wood Jr. cult classic “Bride Of The Monster,” starring Bela Lugosi, Tony McCoy, Loretta King, Tor Johnson, Harvey B Dunn, Don Nagle, Dolores Fuller and Billy Bendict. Lugosi plays a mad scientist seeking to create a superhuman race to conquer … Bride Of The Monster | Episode 378 Read More » The post Bride Of The Monster | Episode 378 appeared first on The ESO Network.

There's little question that Bram Stoker's 1897 novel Dracula is an important novel for us monster kids. So many films have been based on this classic piece of literature, and this week, Derek and Beth watch a film that adapts just a small portion of that book - The Last Voyage of the Demeter (dir. André Øvredal). Plus Mark Matzke's Beta Capsule Review and Kenny's Look at Famous Monsters of Filmland! Making Sense of the World: A Discussion of The Last Voyage of the Demeter by Dominique Lamssies - The Last Voyage of the Demeter on IMDB -  The Last Voyage of the Demeter on Does the Dog Die? - Team Deth YouTube Channel - Voicemail: (360) 524-2484‬ Email: Monster Kid Radio's Discord Server - Monster Kid Radio on Reddit - Monster Kid Radio on Twitch! - - Monster Kid Radio on YouTube - Follow Mark MatzkeMonster Fest 2024 - Monsteropolis - Monster Study Group - Small Town Monsters - Monster Fest - Small Town Monsters YouTube Channel (Home of SasWatch) - Monster Kid Radio Amazon Wishlist -   Monster Kid Radio on TeePublic -  Next time on Monster Kid Radio: Stay tuned! The opening and closing song () provided courtesy of  - All original content of Monster Kid Radio by is licensed under a .  

Morgana is back and ready to revisit manga for a Twiple Dip! We're checking out the next volumes of Chainsaw Man, Yokohama Kaidashi Kikou and Dai Dark!!! Send us emails! mangamachinations@gmail.com  Follow us on Twitter! @mangamacpodcast Check out our website! https://mangamachinations.com Check out our YouTube channel! https://www.youtube.com/mangamactv Intro Song: “Are You Ready For Me Baby” by Funk Giraffe, Opening, Introductions, Morgana and her new baby - 00:00:00 Manga Machinations Ko-fi, Mahjong Machinations - 00:03:23 Whatchu Been Reading: Transition Song: “Funkymania” by The Original Orchestra, Morgana enjoyed Neil Gaiman and Colleen Doran's Chivalry - 00:09:15 Lugosi: The Rise and Fall of Hollywood's Dracula covers the life of Bella Lugosi - 00:13:33 Darfox absolutely loves himbo Lu Bu in Romance of the Three Kingdoms - 00:20:55 dakazu is sad over the passing of Haven't You Heard? I'm Sakamoto creator Nami Sano - 00:33:18 Next Episode Preview and Rundown: One Shot on River's Edge, We will review Kyoko Okazaki's story about teenage friendship and drama - 00:35:17 Main Segment Triple Dip: Chainsaw Man 15/Dai Dark 5/Yokohama Kaidashi Kikou 3, Transition Song: “It's Over” by Generation Lost, We revisit three manga previously covered on the podcast and read the next volume for discussion - 00:36:44 Including: Chainsaw Man 15 by Tatsuki Fujimoto - 00:38:12 Dai Dark 5 by Q Hayashida - 01:07:50 Yokohama Kaidashi Kikou 3 by Hitoshi Ashinano - 01:22:24 Picking our favorite of the 3 - 01:52:49 Next Week's Topic: River's Edge, Social Media Rundown, Sign Off Song: “Crazy for Your Love” by Orkas - 01:58:46

A veces no es cuestión de ganar. Lo importante es destacarse del montón. Y, por supuesto, beber coñac ECDQEMSD podcast - El Cyber Talk Show - episodio 5588 Los Secretos Del Golf Conducen: El Pirata y El Sr. Lagartija https://canaltrans.com Noticias Del Mundo: Hongos para la Secretaria del Tesoro - La deflación china - Trump y Georgia - Argentina aumentada - Lana del Rey por la CDMX - Madonna de fiesta - Bukowski, Lugosi, Elvis y Aretha - Fantasma electoral. Historias Desintegradas: Torneos profesionales - El caddie experto - Ganar la perra - A brindar en cada hoyo - El estrés migratorio - Tienda de regalos - Curiosidades - Tijeras de zigzag - Plomero, mecánico y albañil profesional - Me robé un churro - Enseñanzas de vida - Las maquinitas - La bicicleta robada - Un robo involuntario - Monotemática - La mirada de Simón Bolívar - Cuidados y aportes minerales - Se chingaron la rodilla - San Roque - La Fiesta Grande de Tarija... https://www.canaltrans.com/ecdqemsd_podcast_2023/5588_los_secretos_del_golf.html En Caso De Que El Mundo Se Desintegre Podcast no tiene publicidad, sponsors ni organizaciones que aporten para mantenerlo al aire. Solo el sistema cooperativo de los que aportan a través de las suscripciones hacen posible que todo esto siga siendo una realidad. Gracias Dragones Dorados: https://www.canaltrans.com/radio/suscripciones.html

If you could have gone to Monster Bash, you should have gone to Monster Bash! But if you couldn't, check out this Q&A from Monster Bash featuring the granddaughter of Bela Lugosi, Lynne Lugosi Sparks! Plus Mark Matzke's Beta Capsule Review and Kenny's Look at Famous Monsters of Filmland! Follow Monster Bash at and follow Creepy Classics at   Team Deth YouTube Channel - Voicemail: (360) 524-2484‬ Email: Monster Kid Radio's Discord Server - Monster Kid Radio on Reddit - Monster Kid Radio on Twitch! - - Monster Kid Radio on YouTube - Follow Mark MatzkeMonster Fest 2024 - Monsteropolis - Monster Study Group - Small Town Monsters - Monster Fest - Small Town Monsters YouTube Channel (Home of SasWatch) - Monster Kid Radio Amazon Wishlist -    Monster Kid Radio on TeePublic -  Next time on Monster Kid Radio: Beverly Washburn from Monster Bash Summer 2023 The opening and closing song () provided courtesy of  - All original content of Monster Kid Radio by is licensed under a .

Independent horror film ‘White Zombie', starring Bela Lugosi, premiered in New York City's Rivoli Theatre on July 28th, 1932. It marked the first time that zombies had featured in a Hollywood picture - albeit as the result of an evil voodoo master in Haiti rather than a condition passed on through bites, as in later zombie screenplays. Large portions of the film were shot on the Universal Studios lot, borrowing props and scenery from other horror films of the era, with an ultra-low budget of just $50,000. In this episode, Arion, Rebecca and Olly explain how Lugosi went from Hungarian Shakespeare star to Tinseltown villain; unpick the racism at the heart of the story; and consider why zombies have proven to be such a resilient horror movie staple….  Further Reading: • ‘Hollywood Flashback: Bela Lugosi Introduced the World to Zombies in 1932' (The Hollywood Reporter, 2021): https://www.hollywoodreporter.com/movies/movie-news/bela-lugosi-white-zombies-1234954832/ • ‘White Zombie - Anatomy of a Horror Film, By Gary D. Rhodes' (McFarland, 2001): https://www.google.co.uk/books/edition/White_Zombie/oHApAwAAQBAJ?hl=en&gbpv=1&dq=white+zombie+lugosi&printsec=frontcover • ‘White Zombie' (dir. Victor Halperin, 1932): https://www.youtube.com/watch?v=NV3B2z0HkKA #Film #30s #Hollywood #Macabre #Racism We'll be back on Monday - unless you join 

Lugosi and Karloff are a winning combination this week on Monster Kid Radio when Steve Turek from the  hosts Kevin Slick to discuss The Invisible Ray (dir. Lambert Hillyer). Plus Kenny's Look at Famous Monsters of Filmland and Mark Matzke's Beta Capsule Review, of course! Derek and Beth's Wedding Registry - The Rondo Hatton Classic Horror Awards - Team Deth YouTube Channel - Voicemail: (360) 524-2484‬ Email: Monster Kid Radio's Discord Server - Monster Kid Radio on Reddit - Monster Kid Radio on Twitch! - - Monster Kid Radio on YouTube - Follow Steve Turek DieCast Movie Podcast - DieCast Movie Podcast on Facebook - Follow Kevin SlickKevin Slick online - YouTube - Follow Mark MatzkeMonsteropolis - Monster Study Group - Small Town Monsters - Monster Fest - Small Town Monsters YouTube Channel (Home of SasWatch) - Monster Kid Radio Amazon Wishlist -    Monster Kid Radio on TeePublic - Next time on Monster Kid Radio: Mark of the Vampire (dir. Tod Browning) with filmmaker Ansel Faraj The opening and closing song "" () appears by permission of  -  - All original content of Monster Kid Radio by is licensed under a .

"Demons of the Film Colony" by Theodore LeBerthon first appeared in Weird Tales in October 1932. The story was described by the magazine thusly: "A gigantic hoax was perpetrated on the author by 'Dracula' Lugosi and 'Frankenstein' Karloff."