Podcasts about Villa Diodati

Send us a text and let us know what you think of our podcast!On a dark and stormy night, by the side of Lake Geneva, in a candlelit house that defies the senses, a group of young poets gather to scare each other witless with chilling tales of terror and horror.  Gatecrashing their party, the 13th Doctor encounters ghosts and skeletons, the attentions of Lord Byron and a terrifying walking cadaver part man part machine, a lone Cyberman hunting a sentient weapon that will turn the tide of a future war...The story of Mrs Doctor, Mary Shelley and the psychotic Ashad who hails from a future in which the Cybermen seek to destroy the last of Humanity, is widely regarded as a high point in the modern era of Doctor Who. So when we convinced Character Options supremo Al Dewar to watch The Haunting of Villa Diodati for the VERY FIRST TIME, we were pretty confident he'd enjoy it!But how does the genesis of The Modern Prometheus retold in the Doctor Who universe sit with Al?Will he ever see past 'the man in the suit'?What does he think of the Doctor's new plume?What will he make of The Cyberium and Ashad, one of the most irredeemably vicious foes the Doctor has ever encountered?Just how much extra did it cost to scan and sculpt Ashad into figure form!? Listen in to find out as we collect the instruments of life around us, that they might infuse a spark of being into Al's journey through the escapades of the 13th Doctor...Support the show Subscribe to Who Corner to Corner on your podcast app to make sure you don't miss an episode! Now available to watch on YouTube! Join the Doctor Who chat with us and other fans on Twitter and Facebook! Visit the Who Corner to Corner website and see our back catalogue of episodes! Enjoying what we do? Consider joining our Explorers Subscription plan for more content! Who Corner to Corner: Great guests and 100% positive Doctor Who chat!

Subscriber-only episodeSend us a text and let us know what you think of our podcast!On a dark and stormy night, by the side of Lake Geneva, in a candlelit house that defies the senses, a group of young poets gather to scare each other witless with chilling tales of terror and horror.  Gatecrashing their party, the 13th Doctor encounters ghosts and skeletons, the attentions of Lord Byron and a terrifying walking cadaver part man part machine, a lone Cyberman hunting a sentient weapon that will turn the tide of a future war...The story of Mrs Doctor, Mary Shelley and the psychotic Ashad who hails from a future in which the Cybermen seek to destroy the last of Humanity, is widely regarded as a high point in the modern era of Doctor Who. So when we convinced Character Options supremo Al Dewar to watch The Haunting of Villa Diodati for the VERY FIRST TIME, we were pretty confident he'd enjoy it!But how does the genesis of The Modern Prometheus retold in the Doctor Who universe sit with Al?Will he ever see past 'the man in the suit'?What does he think of the Doctor's new plume?What will he make of The Cyberium and Ashad, one of the most irredeemably vicious foes the Doctor has ever encountered?Listen in to find out as we collect the instruments of life around us, that they might infuse a spark of being into Al's journey through the escapades of the 13th Doctor... Subscribe to Who Corner to Corner on your podcast app to make sure you don't miss an episode! Now available to watch on YouTube! Join the Doctor Who chat with us and other fans on Twitter and Facebook! Visit the Who Corner to Corner website and see our back catalogue of episodes! Enjoying what we do? Consider joining our Explorers Subscription plan for more content! Who Corner to Corner: Great guests and 100% positive Doctor Who chat!

Join Matt and myself for a new series of episodes called “Tales of Mystery”, where we will be exploring all sorts of mysteries throughout history. Today's episode concerns Annie Chapman, who on this date of September 8th in 1888, became the second victim of Jack the Ripper in Whitechapel. This podcast series is in support of Stillpointe Theatre and their World Premiere of our show, “Whitechapel”, running at The Club Car from January 9th through February 1st. For more information, please visit www.stillpointetheatre.com 
Our musical, “Monsters of the Villa Diodati” as produced and performed by Emergent Theatre NYC is available to download for a small fee until September 15th! For more information, please visit: https://www.emergenttheatrenyc.org/ 
Support The Conner & Smith Show on Patreon here: https://www.patreon.com/ConnerandSmith

Join Matt and myself for a new series of episodes called “Tales of Mystery”, where we will be exploring all sorts of mysteries throughout history. Today's episode concerns Polly Nichols, who on this date of August 31st in 1888, became the first victim of Jack the Ripper in Whitechapel. This podcast series is in support of Stillpointe Theatre and their World Premiere of our show, “Whitechapel”, running at The Club Car from January 9th through February 1st. For more information, please visit www.stillpointetheatre.com 
Our musical, “Monsters of the Villa Diodati” as produced and performed by Emergent Theatre NYC is available to download for a small fee until September 15th! For more information, please visit: https://www.emergenttheatrenyc.org/ 
Support The Conner & Smith Show on Patreon here: https://www.patreon.com/ConnerandSmith

Join Matt and myself as we reminisce upon some of our favorite guests of the female persuasion. Our musical, “Monsters of the Villa Diodati” as produced and performed by Emergent Theatre NYC is available to download for a small fee until September 15th! For more information, please visit: https://www.emergenttheatrenyc.org/ 
Support The Conner & Smith Show on Patreon here: https://www.patreon.com/ConnerandSmith

Join Matt and myself as we chat about pop culture with our pugs. From “Hacks” to Gaga's new song, Matt's upcoming new album, “Fall”, and much more!
Our musical, “Monsters of the Villa Diodati” as produced and performed by Emergent Theatre NYC is available to download for a small fee until September 15th! For more information, please visit: https://www.emergenttheatrenyc.org/ 
Support The Conner & Smith Show on Patreon here: https://www.patreon.com/ConnerandSmith

Join Matt & I as we complete our series on Monsters of the Villa Diodati themes that we would like to call “Monsters Among Us”. We listen to some musical highlights from the 2016 cast of “Monsters of the Villa Diodati”, and talk about the song origins. “Monsters of the Villa Diodati”, produced by Emergent Theatreworks, playing July 19-21 at the AMT Theatre in NYC. For more information, please visit: https://www.emergenttheatrenyc.org/ Support The Conner & Smith Show on Patreon here: https://www.patreon.com/ConnerandSmith

Join Matt & I as we continue our series on Monsters of the Villa Diodati themes that we would like to call “Monsters Among Us”. We talk with Annabelle Skala, playing Claire Clairmont in “Monsters of the Villa Diodati” with Emergent Theatreworks, playing July 19-21 at the AMT Theatre in NYC. For more information, please visit: https://www.emergenttheatrenyc.org/ Support The Conner & Smith Show on Patreon here: https://www.patreon.com/ConnerandSmith

Join Matt & I as we continue our series on Monsters of the Villa Diodati themes that we would like to call “Monsters Among Us”. We talk with Aaron Pierce, playing Lord Byron in “Monsters of the Villa Diodati” with Emergent Theatreworks, playing July 19-21 at the AMT Theatre in NYC. For more information, please visit: https://www.emergenttheatrenyc.org/ Support The Conner & Smith Show on Patreon here: https://www.patreon.com/ConnerandSmith

Join Matt & I as we continue our series on Monsters of the Villa Diodati themes that we would like to call “Monsters Among Us”. We talk with Vaheed Talebian, playing Dr. John Polidori in “Monsters of the Villa Diodati” with Emergent Theatreworks, playing July 19-21 at the AMT Theatre in NYC. For more information, please visit: https://www.emergenttheatrenyc.org/ Support The Conner & Smith Show on Patreon here: https://www.patreon.com/ConnerandSmith

Join Matt & I as we continue our series on Monsters of the Villa Diodati themes that we would like to call “Monsters Among Us”. We talk with. Ben Swanson, playing Percy Shelley in “Monsters of the Villa Diodati” with Emergent Theatreworks, playing July 19-21 at the AMT Theatre in NYC. For more information, please visit: https://www.emergenttheatrenyc.org/ Support The Conner & Smith Show on Patreon here: https://www.patreon.com/ConnerandSmith --- Send in a voice message: https://podcasters.spotify.com/pod/show/connerandsmithshow/message

We're back with the most gruesome, spine-chilling ghost episode of all time, series 12 episode 8, "The Haunting of Villa Diodati"! In multiple ways, this is an episode about spreading misinformation about the writing of Frankenstein. Who did it better, Maxine Alderton or Jordan? Please don't @ us. Forget about these writers though, the real star of the show this week is our imaginary version of Graham! What an absolute belter! Sam | Jordan Cohost | Tumblr | Twitter | Patreon | Discord | YouTube

Join Matt & I as we continue our series on Monsters of the Villa Diodati themes that we would like to call “Monsters Among Us”. We talk with Joey DeMita and Ryan MacPherson, Director and Producer of “Monsters of the Villa Diodati” with Emergent Theatreworks, playing July 19-21 at the AMT Theatre in NYC. For more information, please visit: https://www.emergenttheatrenyc.org/ Support The Conner & Smith Show on Patreon here: https://www.patreon.com/ConnerandSmith --- Send in a voice message: https://podcasters.spotify.com/pod/show/connerandsmithshow/message

Join Matt & I as we continue our series on Monsters of the Villa Diodati themes that we would like to call “Monsters Among Us”. We talk with Gabriella Carucci, who plays Mary Shelley in, “Monsters of the Villa Diodati” with the Emergent Theatreworks production of “Monsters of the Villa Diodati” playing July 19-21 at the AMT Theatre in NYC. She was a pure delight! Support The Conner & Smith Show on Patreon here: https://www.patreon.com/ConnerandSmith --- Send in a voice message: https://podcasters.spotify.com/pod/show/connerandsmithshow/message

Join Matt & I as we continue our series on Monsters of the Villa Diodati themes that we would like to call “Monsters Among Us”. We discuss and read from many of the books that we read in our research while writing our show, “Monsters of the Villa Diodati”. This was not intended to be this long, but as you can hear, once we start going down the rabbit hole, we get drawn in, and keep finding more fascinating excerpts that highly influenced our writing. It's basically gay monsters book club. You're welcome. Support The Conner & Smith Show on Patreon here: https://www.patreon.com/ConnerandSmith --- Send in a voice message: https://podcasters.spotify.com/pod/show/connerandsmithshow/message

Join Matt & I as we continue our series on Monsters of the Villa Diodati themed films that we would like to call “Monsters Among Us”. We discuss the 1931 film of “Frankenstein ” directed by James Whale for Universal Studios. This film is the standard bearer that all other Monster films follow the template of. Support The Conner & Smith Show on Patreon here: https://www.patreon.com/ConnerandSmith --- Send in a voice message: https://podcasters.spotify.com/pod/show/connerandsmithshow/message

Join Matt & I as we continue our series on Monsters of the Villa Diodati themed films that we would like to call “Monsters Among Us”. We discuss the 2024 music video of “Fortnight” by Taylor Swift from her latest album, “The Tortured Poets Department”. Being fairly new Swifties, we were super excited for the new album, but when the music video of this lead single came out and used very clear Mary Shelley and Frankenstein imagery, we were OBSESSED! Listen to us break down the imagery and voice our opinions on where it might have come from. Support The Conner & Smith Show on Patreon here: https://www.patreon.com/ConnerandSmith --- Send in a voice message: https://podcasters.spotify.com/pod/show/connerandsmithshow/message

Join Matt & I as we continue our series on Monsters of the Villa Diodati themed films that we would like to call “Monsters Among Us”. We discuss the 2024 film, ”Lisa Frankenstein ”, which is one of our new favorites of this series! More than just an 80's parody comedy horror, screenwriter Diablo Cody crafts an incredibly smart script that pulls elements of Mary Shelley's history, the Diodati Summer, and the classic Universal films through the vantage point of an 80's Comedy/Horror film. No small feat to thread that needle. Well done. Support The Conner & Smith Show on Patreon here: https://www.patreon.com/ConnerandSmith --- Send in a voice message: https://podcasters.spotify.com/pod/show/connerandsmithshow/message

Join Matt & I as we continue our series on Monsters of the Villa Diodati themed films that we would like to call “Monsters Among Us”. We discuss the 1986 film, ”Gothic”, which is my least favorite adaptation of the Summer of Darkness. We at least have Natasha Richardson and Julian Sands. Support The Conner & Smith Show on Patreon here: https://www.patreon.com/ConnerandSmith --- Send in a voice message: https://podcasters.spotify.com/pod/show/connerandsmithshow/message

Join Matt & I as we continue our series on Monsters of the Villa Diodati themed films that we would like to call “Monsters Among Us”. We discuss the 1988 film, ”Haunted Summer”, which is not my favorite adaptation of the Summer of Darkness, but not my least favorite. We at least have Laura Dern and Eric Stoltz. Support The Conner & Smith Show on Patreon here: https://www.patreon.com/ConnerandSmith --- Send in a voice message: https://podcasters.spotify.com/pod/show/connerandsmithshow/message

We're doing things a little differently this episode. There are still spoilers ahead! Frankenstein is considered by many people to be a solid first choice for the first science fiction novel. (Before you start jumping up and down in disgust, yes, there are many stories from the 1600s and even ancient tales which are considered to be strong contenders for the first written sci-fi story. That does not take away from the influence of Mary Shelley.) In 1816 the teenager* went on holiday to Switzerland and came up with the character of Frankenstein and his monster which would then develop into a novel titled Frankenstein; or, The Modern Prometheus. Over 200 years later there are still films being made based on the characters from the book. In this episode, we touch upon James Whale's 1931 Frankenstein film but look at the origins of the story, examine why its monster has such a long lasting legacy, and why these stories resonate with us still.For full detailed shownotes please click the episode at www.everyscififilm.com/watch and scroll down.The expertsRoger Luckhurst is a Professor at Birkbeck, University of London. He specialises in literature, film and cultural history from the 19th century to the present. He has written many books and numerous articles on science fiction, horror and the Gothic.Sarah Artt is a Lecturer at Edinburgh Napier University. She has taught courses on Frankenstein in film and literature and co-led a 3 year project titled The Age of Frankenstein which examined the origins and legacy of the story. Her book Quiet Pictures comes out in May 2024. Chapters00:00 Introduction, thank you and guests02:08 The origin of the monster04:51 Mary Godwin: not your average 19th century girl06:22 The monster is still with us10:16 Mary Shelley as the monster: my hackneyed take14:23 The ultimate goth princess15:02 Knowledge and punishment16:37 The horror film genre20:12 Frankenstein's monster: a child of revolution!23:16 Why we love monsters29:58 James Whale and the Bride of Frankenstein31:38 Godzilla, B movies and pod people35:50 The Stepford Wives39:18 The slave becomes the master40:08 Burning cross, lynching and the mob42:59 Conclusions: class, prejudice and eugenics46:06 RecommendationsNext episodeThe next film we will be covering is Just Imagine (1930). Is is a musical, rom-com sci-fi set in 1980. You can watch it here: https://archive.org/details/JustImagine_201701*Correction: I wrongly say at 02:37 that Mary Shelley is 16 or 17 years old when they arrive at Villa Diodati but she is 18.Send me a text message.

Silena Santoni"La mia creatura"Giunti Editorewww.giunti.itDa sempre, Mary inabissa il suo straordinario talento di scrittrice sotto il peso dei fantasmi e delle colpe. È solo l'amore folle per Percy Shelley che la tiene in vita: per quell'uomo anticonformista e geniale, romantico e crudele, Mary è disposta a tutto. Anche a perdere sé stessa. Pierre è un montanaro pacifico e curioso che gestisce con la moglie una locanda sulla riva del Lago di Ginevra. Quando vede sopraggiungere a Villa Diodati l'eccentrico poeta Lord Byron con i suoi ospiti, ne è stregato. Inizia a spiarli: Percy Shelley, Claire Clairmont, Polidori si lasciano andare alle più depravate sregolatezze mentre ai margini, come estranea agli eventi, Mary li osserva. È il 1816, “l'anno senza estate”, e a Villa Diodati sta per consumarsi una vicenda oscura che, fra crimini e inquietanti ossessioni, porterà Mary a concepire la sua creatura: un mostro spietato che, nel metterla di fronte agli incubi più cupi, le darà finalmente anche la forza di liberarsene. Per diventare immortale. Un romanzo gotico ispirato alla vita di Mary Shelley che intreccia verità e finzione in un'emozionante storia di rivalsa femminile. Un'eroina tormentata, magnetica, indimenticabile.Silena Santoniè nata e vive a Firenze. Per molti anni ha insegnato Lettere nella scuola secondaria di I e II grado. Scrive brani e adattamenti teatrali per la compagnia Katapult, nella quale ha a lungo recitato. Una ragazza affidabile (2018), il suo romanzo d'esordio, è stato un grande successo di critica e pubblico, al quale hanno fatto seguito Piccola città (2020) e Volver (2022), tutti pubblicati da Giunti Editore.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

Join Matt & I as we continue our series on Monsters of the Villa Diodati themed films that we would like to call “Monsters Among Us”. We discuss the 1988 film, ”Rowing with the Wind”, which is my personal favorite of all of the 4 (soon to be 5!) films about the Summer of Darkness in 1816, just because of it's historical accuracy and artistic embellishment of adding the Monster into the story as a character. And Valentine Pelka is pretty easy on the eyes as Percy Byshee Shelley, and so is Hugh Grant as Lord Byron, to be honest. Support The Conner & Smith Show on Patreon here: https://www.patreon.com/ConnerandSmith --- Send in a voice message: https://podcasters.spotify.com/pod/show/connerandsmithshow/message

Join Matt & I as we start a new series on Monsters of the Villa Diodati themed films that we would like to call “Monsters Among Us”. We discuss the 2017 film, ”Mary Shelley ”, which feels like the ONE film out of 4 about the creation of her novel, Frankenstein that she edited herself from the grave. She who holds the pen last - wins. Support The Conner & Smith Show on Patreon here: https://www.patreon.com/ConnerandSmith --- Send in a voice message: https://podcasters.spotify.com/pod/show/connerandsmithshow/message

Join Matt & I as we start a new series on Monsters of the Villa Diodati themed films that we would like to call “Monsters Among Us”. We discuss the 2023 film, ”Poor Things ”, and also chat about what other films that we might cover in this series. Support The Conner & Smith Show on Patreon here: https://www.patreon.com/ConnerandSmith --- Send in a voice message: https://podcasters.spotify.com/pod/show/connerandsmithshow/message

We thought we'd start sharing the first few minutes of our Patreon episodes here on the main feed to give everyone a taste of what you can expect if you join us at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠patreon.com/thefrankencast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Doctor Who? We just watched Ken Russell's Gothic, so we thought it seemed appropriate to take a look at the time that The Doctor met Mary Shelley, and it was kind of underwhelming. Join us as we somehow never see the TARDIS, completely ignore Mary Shelley to focus on Percy, and then kind of not really pay much attention to Percy either.

Sorry for making things weird. Join us this week as we see what Ken Russell imagines it was like at Villa Diodati as Mary Shelley was inspired to write Frankenstein. Turns out it's mostly like a bad drug trip with some horny moments in there to keep things interesting. Join us as we dance with a robot stripper, talk to our leeches, and finally get to see a depiction of Percy Shelley's famous scary vision. (Hot.) Please rate, review, and tell your fiends. And be sure to subscribe so you don't miss future installments. Join us on Patreon at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠patreon.com/thefrankencast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Follow us on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ or ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ @thefrankencast or send us a letter at thefrankencast@gmail.com. We'd love to hear from you! Your Horror Hosts: Anthony Bowman (he/him) & Eric Velazquez (he/him). Cover painting by Amanda Keller (⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@KellerIllustrations on Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠).

John William Polidori, an Italian-English physician and writer born in 1795, was a notable figure associated with the Romantic movement. As the eldest son of Gaetano Polidori, an Italian scholar, and Anna Maria Pierce, a governess, Polidori was exposed to intellectual pursuits from a young age. He received his medical degree from the University of Edinburgh in 1815 at the remarkably young age of 19. Polidori's literary talents and connections led him to serve as personal physician to the renowned poet Lord Byron, embarking on a European tour with him in 1816. During their travels, Polidori found himself in the company of other literary luminaries, including Mary Shelley and Percy Bysshe Shelley. It was during this time, at the Villa Diodati by Lake Geneva, that the idea for "The Vampyre" took shape. Inspired by a fragment of a story by Lord Byron, Polidori penned his own tale, which would go on to become the first vampire story in English literature. Originally published in April 1819 in the New Monthly Magazine, "The Vampyre" was falsely attributed to Lord Byron, likely to capitalize on his fame. This misattribution persisted for years, causing confusion over the true authorship of the story. Polidori's "The Vampyre" introduced several key features of the vampire archetype that would influence vampire literature for generations to come. Notably, his portrayal of Lord Ruthven, the titular vampyre, departed from the traditional folkloric depictions of vampires as grotesque creatures. Instead, Polidori's vampyre was an aristocratic figure, seductive and charming, preying on high society. Lord Ruthven's aristocratic allure, coupled with his predatory nature and mysterious aura, set the template for the modern vampire, ushering in a new era of vampire fiction characterized by sophistication and allure. Learn more about your ad choices. Visit megaphone.fm/adchoices

Conjure up your deepest, darkest fear. Now call that fear to life.Gothic is a 1986 British psychological horror film directed by Ken Russell, starring Gabriel Byrne as Lord Byron, Julian Sands as Percy Bysshe Shelley, Natasha Richardson as Mary Shelley, Myriam Cyr as Claire Clairmont (Mary Shelley's stepsister) and Timothy Spall as Dr. John William Polidori.The film is a fictionalized retelling of the Shelleys' visit to Lord Byron in Villa Diodati by Lake Geneva and it concerns their competition to write a horror story, which ultimately led to Mary Shelley writing Frankenstein and John Polidori writing The Vampyre.00:00 Intro12:26 Horror News 32:20 What We've Been Watching52:53 Film Review2:10:01 Name Game2:16:20 Film Rating2:22:36 OutroPodcast - https://podlink.to/horrorhangout​​​Patreon - https://www.patreon.com/horrorhangoutFacebook - https://www.facebook.com/horrorhangoutpodcastTwitter - https://twitter.com/horror_hangout_TikTok - https://www.tiktok.com/@horrorhangoutpodcastInstagram - https://www.instagram.com/horrorhangoutpodcast/Website - http://www.hawkandcleaver.com​​​Ben - https://twitter.com/ben_errington​​​Andy - https://twitter.com/AndyCTWritesHelen - https://www.instagram.com/helen.c.pain/Audio credit - Taj Eastonhttp://tajeaston.comSupport this show http://supporter.acast.com/thehorrorhangout. Hosted on Acast. See acast.com/privacy for more information.

A deep dive into Ryan Sinclair and disability representation. What is dyspraxia? How was Ryan's dyspraxia depicted in Doctor Who? How should representation be approached? How does Ryan's characterisation resonate with people with dyspraxia? How do infantalisation, cyclicality, relationships with time, and narrative stasis play into all this? All these sorts of questions are explored in a thorough journey through Ryan's time across Chris Chibnall's era of Doctor Who, examining every clip relevant to Ryan's dyspraxia, along with script excerpts, relevant articles, and more. This is a cumulative analysis of Ryan's time on the show from authentic perspectives from fans with dyspraxia, starting with a wide-ranging discussion on dyspraxia and representation, then moving into an examination of relevant episodes and scripts. (00:00:00) Intro & importance (00:03:03) Defining dyspraxia (00:11:47) Disability intersection, narratives, & frameworks (00:16:33) Representation of dyspraxia (00:25:42) Role of representation (00:36:32) Chibnall's approach (00:46:21) Reception to Ryan (00:52:27) More reception to Ryan (00:59:09) The Woman Who Fell to Earth (01:55:37) The Ghost Monument (02:08:41) Kerblam! (02:18:09) It Takes You Away (02:22:38) Resolution (02:27:41) Spyfall (02:46:41) Nikola Tesla's Night of Terror (02:47:41) The Haunting of Villa Diodati (02:51:42) The Timeless Children (02:58:30) Revolution of the Daleks (03:13:15) Outro… Continue reading →

Vive el Misterio... Pasa, ponte cómodo y disfruta... From London Esta semana el viaje de La Luz del Misterio, en London Radio World, nuestra compañera Sandra Amaya nos ha traído la información sobre la realización de un viaje atrás en el tiempo usando partículas cuánticas para cambiar el pasado. Un equipo de la Universidad de Cambridge ha logrado demostrar lo que pasaría si viajáramos hacia atrás en el tiempo usando el entrelazamiento cuántico. Además de gran número de oyentes que nos han dejado un mensaje de texto o un mensaje de voz en nuetro whatsapp 0042 7378 880037 desde más de 45 países que nos siguen. Hoy hacemos un viaje hacía las profundidades más oscuras y profundas de la celebración de Samhain. Lo más siniestro y terrorífico. El festival celta del Samhain se consideraba un momento en el que se rompía la barrera entre el mundo humano y el sobrenatural, permitiendo a los espíritus acercarse a las casas. Nuestro segundo viaje nos lleva a conocer a un gran número de conocidos escritores de literatura universal que tuvieron escarceos con el mundo del MISTERIO. ¿Imaginan a la joven Mary Shelley dando forma al monstruo de Frankenstein en las lúgubres noches del que fue conocido en todo el mundo como el año sin verano en Villa Diodati? ¿Sabían que Arthur Conan Doyle era un crédulo que creía en fantasmas, hasta el punto de que hubiera hecho avergonzarse a Sherlock Holmes, el analítico detective surgido del talento de su pluma? ¿Qué le ocurrió durante los once días perdidos de Agatha Christie, que provocaron una conmoción en el Reino Unido y una de las búsquedas de desaparecidos más grandes que había visto aquel país? Estos y otros autores descubriremos con la ayuda del escritor y divulgador histórico, José Luis Hernández Garvi.Nuestro segundo viaje nos lleva a conocer a un gran número de conocidos escritores de literatura universal que tuvieron escarceos con el mundo del MISTERIO. ¿Imaginan a la joven Mary Shelley dando forma al monstruo de Frankenstein en las lúgubres noches del que fue conocido en todo el mundo como el año sin verano en Villa Diodati? ¿Sabían que Arthur Conan Doyle era un crédulo que creía en fantasmas, hasta el punto de que hubiera hecho avergonzarse a Sherlock Holmes, el analítico detective surgido del talento de su pluma? ¿Qué le ocurrió durante los once días perdidos de Agatha Christie, que provocaron una conmoción en el Reino Unido y una de las búsquedas de desaparecidos más grandes que había visto aquel país? Estos y otros autores descubriremos con la ayuda del escritor y divulgador histórico, José Luis Hernández Garvi. Síguenos a través de: edenex.es ZTR Radio.online London Radio World En Ivoox Itunes Spotify YouTube Amazon Music Si deseas apoyarnos: https://www.ivoox.com/ajx-apoyar_i1_support_29070_1.html SI DESEAS SALUDARNOS DESDE CUALQUIER PUNTO DEL PLANETA PUEDES HACERLO A TRAVÉS DE NUESTRO WHATSAPP 00 44 7378 880037 Más información: laluzdelmisterioradio.blogspot.com laluzdelmisterio@gmail.com

Vive el Misterio... Pasa, ponte cómodo y disfruta... From London Esta semana el viaje de La Luz del Misterio, en London Radio World, nuestra compañera Sandra Amaya nos ha traído la información sobre la realización de un viaje atrás en el tiempo usando partículas cuánticas para cambiar el pasado. Un equipo de la Universidad de Cambridge ha logrado demostrar lo que pasaría si viajáramos hacia atrás en el tiempo usando el entrelazamiento cuántico. Además de gran número de oyentes que nos han dejado un mensaje de texto o un mensaje de voz en nuetro whatsapp 0042 7378 880037 desde más de 45 países que nos siguen. Hoy hacemos un viaje hacía las profundidades más oscuras y profundas de la celebración de Samhain. Lo más siniestro y terrorífico. El festival celta del Samhain se consideraba un momento en el que se rompía la barrera entre el mundo humano y el sobrenatural, permitiendo a los espíritus acercarse a las casas. Nuestro segundo viaje nos lleva a conocer a un gran número de conocidos escritores de literatura universal que tuvieron escarceos con el mundo del MISTERIO. ¿Imaginan a la joven Mary Shelley dando forma al monstruo de Frankenstein en las lúgubres noches del que fue conocido en todo el mundo como el año sin verano en Villa Diodati? ¿Sabían que Arthur Conan Doyle era un crédulo que creía en fantasmas, hasta el punto de que hubiera hecho avergonzarse a Sherlock Holmes, el analítico detective surgido del talento de su pluma? ¿Qué le ocurrió durante los once días perdidos de Agatha Christie, que provocaron una conmoción en el Reino Unido y una de las búsquedas de desaparecidos más grandes que había visto aquel país? Estos y otros autores descubriremos con la ayuda del escritor y divulgador histórico, José Luis Hernández Garvi.Nuestro segundo viaje nos lleva a conocer a un gran número de conocidos escritores de literatura universal que tuvieron escarceos con el mundo del MISTERIO. ¿Imaginan a la joven Mary Shelley dando forma al monstruo de Frankenstein en las lúgubres noches del que fue conocido en todo el mundo como el año sin verano en Villa Diodati? ¿Sabían que Arthur Conan Doyle era un crédulo que creía en fantasmas, hasta el punto de que hubiera hecho avergonzarse a Sherlock Holmes, el analítico detective surgido del talento de su pluma? ¿Qué le ocurrió durante los once días perdidos de Agatha Christie, que provocaron una conmoción en el Reino Unido y una de las búsquedas de desaparecidos más grandes que había visto aquel país? Estos y otros autores descubriremos con la ayuda del escritor y divulgador histórico, José Luis Hernández Garvi. Síguenos a través de: edenex.es ZTR Radio.online London Radio World En Ivoox Itunes Spotify YouTube Amazon Music Si deseas apoyarnos: https://www.ivoox.com/ajx-apoyar_i1_support_29070_1.html SI DESEAS SALUDARNOS DESDE CUALQUIER PUNTO DEL PLANETA PUEDES HACERLO A TRAVÉS DE NUESTRO WHATSAPP 00 44 7378 880037 Más información: laluzdelmisterioradio.blogspot.com laluzdelmisterio@gmail.com

El escritor y traductor Bernardo Ruiz habla en este episodio sobre su trabajo como narrador, los retos que implicó traducir a Lovecraft y la gran experiencia que fue representar a John William Polidori en la conmemoración de aquel encuentro de singulares personajes en Villa Diodati, en el que se concebirían dos grandes obras: El vampiro y Frankenstein. No te pierdas esta conversación que cierra con el cuento “Lotería”, del propio Bernardo Ruiz.Síguenos en nuestras redes sociales y no te olvides de compartir este episodio.

Well this is a first! The only Jodie Whittaker/Chris Chibnall adventure to thus far be given the Happy Times... treatment, and it's one set in a haunted house at the birth of a literary classic. Host Toby Hadoke is nervous about this: not as familiar with the newer stuff as he is with the old, and not always the most comfortable traveller on the Chibnall express. But guest Steven Schapansky (contender for the title of THE Doctor Who podcaster, so prolific and high quality is his output) is a good guy and he's bound to make the journey a smooth one... who knows, Toby might suddenly go back and watch them all now. Stephen might have created a monster...!     Please support these podcasts on Patreon, where you will get advance releases, exclusive content (including a patron only podcast - Far Too Much information), regular AMAs and more. Tiers start form as little as £3 per month.  patreon.com/tobyhadoke   Or there is Ko-fi for the occasionally donation with no commitments: ko-fi.com/tobyhadoke   Follow Toby on Twitter @tobyhadoke And these podcasts @HadokePodcasts And his comedy club @xsmalarkey   www.tobyhadoke.com for news, blog, mailing list and more.   

Juan Antonio Sanz nos traslada al 16 de Junio de 1816 a Villa Diodati, donde fue el germen del origen de Frankestein. Ignacio Martin nos acerca a los misterios y enigmas de los espejo. Un relato sobre La Recolectadora de Almas un Relato de Encarnación Medina, relatado por Juan Carlos Márquez. Cover: Juan Carlos Márquez Correo de Contacto: laruedadelmisterio2010@gmail.com © La Rueda del Misterio

We continue our look back at the movies released by independent distributor Vestron Pictures, focusing on their 1988 releases. ----more---- The movies discussed on this episode, all released by Vestron Pictures in 1988 unless otherwise noted, include: Amsterdamned (Dick Maas) And God Created Woman (Roger Vadim) The Beat (Paul Mones) Burning Secret (Andrew Birkin) Call Me (Sollace Mitchell) The Family (Ettore Scola) Gothic (Ken Russell, 1987) The Lair of the White Worm (Ken Russell) Midnight Crossing (Roger Holzberg) Paramedics (Stuart Margolin) The Pointsman (Jos Stelling) Salome's Last Dance (Ken Russell) Promised Land (Michael Hoffman) The Unholy (Camilo Vila) Waxwork (Anthony Hickox)   TRANSCRIPT   From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   At the end of the previous episode, Vestron Pictures was celebrating the best year of its two year history. Dirty Dancing had become one of the most beloved movies of the year, and Anna was becoming a major awards contender, thanks to a powerhouse performance by veteran actress Sally Kirkland. And at the 60th Academy Awards ceremony, honoring the films of 1987, Dirty Dancing would win the Oscar for Best Original Song, while Anna would be nominated for Best Actress, and The Dead for Best Adapted Screenplay and Best Costumes.   Surely, things could only go up from there, right?   Welcome to Part Two of our miniseries.   But before we get started, I'm issuing a rare mea culpa. I need to add another Vestron movie which I completely missed on the previous episode, because it factors in to today's episode. Which, of course, starts before our story begins.   In the 1970s, there were very few filmmakers like the flamboyant Ken Russell. So unique a visual storyteller was Russell, it's nigh impossible to accurately describe him in a verbal or textual manner. Those who have seen The Devils, Tommy or Altered States know just how special Russell was as a filmmaker. By the late 1980s, the hits had dried up, and Russell was in a different kind of artistic stage, wanting to make somewhat faithful adaptations of late 19th and early 20th century UK authors. Vestron was looking to work with some prestigious filmmakers, to help build their cache in the filmmaking community, and Russell saw the opportunity to hopefully find a new home with this new distributor not unlike the one he had with Warner Brothers in the early 70s that brought forth several of his strongest movies.   In June 1986, Russell began production on a gothic horror film entitled, appropriately enough, Gothic, which depicted a fictionalized version of a real life meeting between Mary Godwin, Percy Shelley, John William Polidori and Claire Clairemont at the Villa Diodati in Geneva, hosted by Lord Byron, from which historians believe both Mary Shelley's Frankenstein and John William Polidori's The Vampyre were inspired.   And you want to talk about a movie with a great cast. Gabriel Byrne plays Lord Byron, Julian Sands as Percy Shelley, Natasha Richardson, in her first ever movie, as Mary Shelley, Timothy Spall as John William Polidori, and Dexter Fletcher.   Although the film was produced through MGM, and distributed by the company in Europe, they would not release the film in America, fearing American audiences wouldn't get it. So Vestron would swoop in and acquire the American theatrical rights.   Incidentally, the film did not do very well in American theatres. Opening at the Cinema 1 in midtown Manhattan on April 10th, 1987, the film would sell $45,000 worth of tickets in its first three days, one of the best grosses of any single screen in the city. But the film would end up grossing only $916k after three months in theatres.   BUT…   The movie would do quite well for Vestron on home video, enough so that Vestron would sign on to produce Russell's next three movies. The first of those will be coming up very soon.   Vestron's 1988 release schedule began on January 22nd with the release of two films.   The first was Michael Hoffman's Promised Land. In 1982, Hoffman's first film, Privileged, was the first film to made through the Oxford Film Foundation, and was notable for being the first screen appearances for Hugh Grant and Imogen Stubbs, the first film scored by future Oscar winning composer Rachel Portman, and was shepherded into production by none other than John Schlesinger, the Oscar winning director of 1969 Best Picture winner Midnight Cowboy. Hoffman's second film, the Scottish comedy Restless Natives, was part of the 1980s Scottish New Wave film movement that also included Bill Forsyth's Gregory's Girl and Local Hero, and was the only film to be scored by the Scottish rock band Big Country.   Promised Land was one of the first films to be developed by the Sundance Institute, in 1984, and when it was finally produced in 1986, would include Robert Redford as one of its executive producers. The film would follow two recent local high school graduates, Hancock and Danny, whose lives would intersect again with disastrous results several years after graduation. The cast features two young actors destined to become stars, in Keifer Sutherland and Meg Ryan, as well as Jason Gedrick, Tracy Pollan, and Jay Underwood. Shot in Reno and around the Sundance Institute outside Park City, Utah during the early winter months of 1987, Promised Land would make its world premiere at the prestigious Deauville Film Festival in September 1987, but would lose its original distributor, New World Pictures around the same time. Vestron would swoop in to grab the distribution rights, and set it for a January 22nd, 1988 release, just after its American debut at the then U.S. Film Festival, which is now known as the Sundance Film Festival.    Convenient, eh?   Opening on six screens in , the film would gross $31k in its first three days. The film would continue to slowly roll out into more major markets, but with a lack of stellar reviews, and a cast that wouldn't be more famous for at least another year and a half, Vestron would never push the film out to more than 67 theaters, and it would quickly disappear with only $316k worth of tickets sold.   The other movie Vestron opened on January 22nd was Ettore Scale's The Family, which was Italy's submission to that year's Academy Awards for Best Foreign Language Film. The great Vittorio Gassman stars as a retired college professor who reminisces about his life and his family over the course of the twentieth century. Featuring a cast of great international actors including Fanny Ardant, Philip Noiret, Stefania Sandrelli and Ricky Tognazzi, The Family would win every major film award in Italy, and it would indeed be nominated for Best Foreign Language Film, but in America, it would only play in a handful of theatres for about two months, unable to gross even $350k.   When is a remake not a remake? When French filmmaker Roger Vadim, who shot to international fame in 1956 with his movie And God Created Woman, decided to give a generational and international spin on his most famous work. And a completely different story, as to not resemble his original work in any form outside of the general brushstrokes of both being about a young, pretty, sexually liberated young woman.   Instead of Bridget Bardot, we get Rebecca De Mornay, who was never able to parlay her starring role in Risky Business to any kind of stardom the way one-time boyfriend Tom Cruise had. And if there was any American woman in the United States in 1988 who could bring in a certain demographic to see her traipse around New Mexico au natural, it would be Rebecca De Mornay. But as we saw with Kathleen Turner in Ken Russell's Crimes of Passion in 1984 and Ellen Barkin in Mary Lambert's Siesta in 1987, American audiences were still rather prudish when it came to seeing a certain kind of female empowered sexuality on screen, and when the film opened at 385 theatres on March 4th, it would open to barely a $1,000 per screen average. And God Created Woman would be gone from theatres after only three weeks and $717k in ticket sales.   Vestron would next release a Dutch film called The Pointsman, about a French woman who accidentally gets off at the wrong train station in a remote Dutch village, and a local railwayman who, unable to speak the other person's language, develop a strange relationship while she waits for another train that never arrives.   Opening at the Lincoln Plaza Cinemas on New York's Upper West Side on April 8th, the film would gross $7,000 in its first week, which in and of itself isn't all that bad for a mostly silent Dutch film. Except there was another Dutch film in the marketplace already, one that was getting much better reviews, and was the official Dutch entry into that year's Best Foreign Language Film race. That film, Babette's Feast, was becoming something more than just a movie. Restaurants across the country were creating menus based on the meals served in the film, and in its sixth week of release in New York City that weekend, had grossed four times as much as The Pointsman, despite the fact that the theatre playing Babette's Feast, the Cinema Studio 1, sat only 65 more people than the Lincoln Plaza 1. The following week, The Pointsman would drop to $6k in ticket sales, while Babette's Feast's audience grew another $6k over the previous week. After a third lackluster week, The Pointsman was gone from the Lincoln Plaza, and would never play in another theatre in America.   In the mid-80s, British actor Ben Cross was still trying to capitalize on his having been one of the leads in the 1981 Best Picture winner Chariots of Fire, and was sharing a home with his wife and children, as well as Camilo Vila, a filmmaker looking for his first big break in features after two well-received short films made in his native Cuba before he defected in the early 1980s. When Vila was offered the chance to direct The Unholy, about a Roman Catholic priest in New Orleans who finds himself battling a demonic force after being appointed to a new parish, he would walk down the hall of his shared home and offered his roomie the lead role.   Along with Ned Beatty, William Russ, Hal Holbrook and British actor Trevor Howard in his final film, The Unholy would begin two weeks of exterior filming in New Orleans on October 27th, 1986, before moving to a studio in Miami for seven more weeks. The film would open in 1189 theatres, Vestron's widest opening to date, on April 22nd, and would open in seventh place with $2.35m in ticket sales. By its second week in theatres, it would fall to eleventh place with a $1.24m gross. But with the Summer Movie Season quickly creeping up on the calendar, The Unholy would suffer the same fate as most horror films, making the drop to dollar houses after two weeks, as to make room for such dreck as Sunset, Blake Edwards' lamentable Bruce Willis/James Garner riff on Hollywood and cowboys in the late 1920s, and the pointless sequel to Critters before screens got gobbled up by Rambo III on Memorial Day weekend. It would earn a bit more than $6m at the box office.   When Gothic didn't perform well in American theatres, Ken Russell thought his career was over. As we mentioned earlier, the American home video store saved his career, as least for the time being.    The first film Russell would make for Vestron proper was Salome's Last Dance, based on an 1891 play by Oscar Wilde, which itself was based on a story from the New Testament. Russell's script would add a framing device as a way for movie audiences to get into this most theatrical of stories.   On Guy Fawkes Day in London in 1892, Oscar Wilde and his lover, Lord Alfred Douglas, arrive late at a friend's brothel, where the author is treated to a surprise performance of his play Salome, which has recently been banned from being performed at all in England by Lord Chamberlain. All of the actors in his special performance are played by the prostitutes of the brothel and their clients, and the scenes of the play are intertwined with Wilde's escapades at the brothel that night.   We didn't know it at the time, but Salome's Last Dance would be the penultimate film performance for Academy Award winning actress Glenda Jackson, who would retire to go into politics in England a couple years later, after working with Russell on another film, which we'll get to in a moment. About the only other actor you might recognize in the film is David Doyle, of all people, the American actor best known for playing Bosley on Charlie's Angels.   Like Gothic, Salome's Last Dance would not do very well in theatres, grossing less than half a million dollars after three months, but would find an appreciative audience on home video.   The most interesting thing about Roger Holzberg's Midnight Crossing is the writer and director himself. Holzberg started in the entertainment industry as a playwright, then designed the props and weapons for Albert Pyun's 1982 film The Sword and the Sorcerer, before moving on to direct the second unit team on Pyun's 1985 film Radioactive Dreams. After making this film, Holzberg would have a cancer scare, and pivot to health care, creating a number of technological advancements to help evolve patient treatment, including the Infusionarium, a media setup which helps children with cancer cope with treatment by asking them questions designed to determine what setting would be most comforting to them, and then using virtual reality technology and live events to immerse them in such an environment during treatment.   That's pretty darn cool, actually.   Midnight Crossing stars Faye Dunaway and Hill Street Blues star Daniel J. Travanti in his first major movie role as a couple who team with another couple, played by Kim Cattrall and John Laughlin, who go hunting for treasure supposedly buried between Florida and Cuba.   The film would open in 419 theaters on May 11th, 1988, and gross a paltry $673k in its first three days, putting it 15th on the list of box office grosses for the week, $23k more than Three Men and a Baby, which was playing on 538 screens in its 25th week of release. In its second week, Midnight Crossing would lose more than a third of its theatres, and the weekend gross would fall to just $232k. The third week would be even worse, dropping to just 67 theatres and $43k in ticket sales. After a few weeks at a handful of dollar houses, the film would be history with just $1.3m in the bank. Leonard Klady, then writing for the Los Angeles Times, would note in a January 1989 article about the 1988 box office that Midnight Crossing's box office to budget ratio of 0.26 was the tenth worst ratio for any major or mini-major studio, ahead of And God Created Woman's 8th worst ratio of .155 but behind other stinkers like Caddyshack II.   The forgotten erotic thriller Call Me sounds like a twist on the 1984 Alan Rudolph romantic comedy Choose Me, but instead of Genevieve Bujold we get Patricia Charbonneau, and instead of a meet cute involving singles at a bar in Los Angeles, we get a murder mystery involving a New York City journalist who gets involved with a mysterious caller after she witnesses a murder at a bar due to a case of mistaken identity.   The film's not very good, but the supporting cast is great, including Steve Buscemi, Patti D'Arbanville, Stephen McHattie and David Straithairn.   Opening on 24 screens in major markets on May 20th, Call Me would open to horrible reviews, lead by Siskel and Ebert's thumbs facing downward, and only $58,348 worth of tickets sold in its first three days. After five weeks in theatres, Vestron hung up on Call Me with just $252k in the kitty.   Vestron would open two movies on June 3rd, one in a very limited release, and one in a moderate national release.   There are a lot of obscure titles in these two episodes, and probably the most obscure is Paul Mones' The Beat. The film followed a young man named Billy Kane, played by William McNamara in his film debut, who moves into a rough neighborhood controlled by several gangs, who tries to help make his new area a better place by teaching them about poetry. John Savage from The Deer Hunter plays a teacher, and future writer and director Reggie Rock Bythewood plays one of the troubled youths whose life is turned around through the written and spoken word.   The production team was top notch. Producer Julia Phillips was one of the few women to ever win a Best Picture Oscar when she and her then husband Michael Phillips produced The Sting in 1973. Phillips was assisted on the film by two young men who were making their first movie. Jon Kilik would go on to produce or co-produce every Spike Lee movie from Do the Right Thing to Da 5 Bloods, except for BlackkKlansman, while Nick Weschler would produce sex, lies and videotape, Drugstore Cowboy, The Player and Requiem for a Dream, amongst dozens of major films. And the film's cinematographer, Tom DiCillo, would move into the director's chair in 1991 with Johnny Suede, which gave Brad Pitt his first lead role.   The Beat would be shot on location in New York City in the summer of 1986, and it would make its world premiere at the Cannes Film Market in May 1987. But it would be another thirteen months before the film arrived in theatres.   Opening on seven screens in Los Angeles and New York City on June 3rd, The Beat would gross just $7,168 in its first three days.  There would not be a second week for The Beat. It would make its way onto home video in early 1989, and that's the last time the film was seen for nearly thirty years, until the film was picked up by a number of streaming services.   Vestron's streak of bad luck continued with the comedy Paramedics starring George Newbern and Christopher McDonald. The only feature film directed by Stuart Margolin, best known as Angel on the 1970s TV series The Rockford Files, Newbern and McDonald play two… well, paramedics… who are sent by boss, as punishment, from their cushy uptown gig to a troubled district at the edge of the city, where they discover two other paramedics are running a cadavers for dollars scheme, harvesting organs from dead bodies to the black market.   Here again we have a great supporting cast who deserve to be in a better movie, including character actor John P. Ryan, James Noble from Benson, Lawrence Hilton-Jacobs from Welcome Back Kotter, the great Ray Walston, and one-time Playboy Playmate Karen Witter, who plays a sort of angel of death.   Opening on 301 screens nationwide, Paramedics would only gross $149,577 in its first three days, the worst per screen average of any movie playing in at least 100 theatres that weekend. Vestron stopped tracking the film after just three days.   Two weeks later, on June 17th, Vestron released a comedy horror film that should have done better. Waxwork was an interesting idea, a group of college students who have some strange encounters with the wax figures at a local museum, but that's not exactly why it should have been more popular. It was the cast that should have brought audiences in. On one side, you had a group of well-known younger actors like Deborah Foreman from Valley Girl, Zack Gailligan from Gremlins, Michelle Johnson from Blame It on Rio, and Miles O'Keeffe from Sword of the Valiant. On the other hand, you had a group of seasoned veterans from popular television shows and movies, such as Patrick Macnee from the popular 1960s British TV show The Avengers, John Rhys-Davies from the Indiana Jones movies, and David Warner, from The Omen and Time after Time and Time Bandits and Tron.   But if I want to be completely honest, this was not a movie to release in the early part of summer. While I'm a firm believer that the right movie can find an audience no matter when it's released, Waxwork was absolutely a prime candidate for an early October release. Throughout the 1980s, we saw a number of horror movies, and especially horror comedies, released in the summer season that just did not hit with audiences. So it would be of little surprise when Waxwork grossed less than a million dollars during its theatrical run. And it should be of little surprise that the film would become popular enough on home video to warrant a sequel, which would add more popular sci-fi and horror actors like Marina Sirtis from Star Trek: The Next Generation, David Carradine and even Bruce Campbell. But by 1992, when Waxwork 2 was released, Vestron was long since closed.   The second Ken Russell movie made for Vestron was The Lair of the White Worm, based on a 1911 novel by Bram Stoker, the author's final published book before his death the following year. The story follows the residents in and around a rural English manor that are tormented by an ancient priestess after the skull of a serpent she worships is unearthed by an archaeologist.   Russell would offer the role of Sylvia Marsh, the enigmatic Lady who is actually an immortal priestess to an ancient snake god, to Tilda Swinton, who at this point of her career had already racked up a substantial resume in film after only two years, but she would decline. Instead, the role would go to Amanda Donohoe, the British actress best known at the time for her appearances in a pair of Adam Ant videos earlier in the decade. And the supporting cast would include Peter Capaldi, Hugh Grant, Catherine Oxenberg, and the under-appreciated Sammi Davis, who was simply amazing in Mona Lisa, A Prayer for the Dying and John Boorman's Hope and Glory.   The $2m would come together fairly quickly. Vestron and Russell would agree on the film in late 1987, the script would be approved by January 1988, filming would begin in England in February, and the completed film would have its world premiere at the Montreal Film Festival before the end of August.   When the film arrived in American theatres starting on October 21st, many critics would embrace the director's deliberate camp qualities and anachronisms. But audiences, who maybe weren't used to Russell's style of filmmaking, did not embrace the film quite so much. New Yorkers would buy $31k worth of tickets in its opening weekend at the D. W. Griffith and 8th Street Playhouse, and the film would perform well in its opening weeks in major markets, but the film would never quite break out, earning just $1.2m after ten weeks in theatres. But, again, home video would save the day, as the film would become one of the bigger rental titles in 1989.   If you were a teenager in the early 80s, as I was, you may remember a Dutch horror film called The Lift. Or, at the very least, you remember the key art on the VHS box, of a man who has his head stuck in between the doors of an elevator, while the potential viewer is warned to take the stairs, take the stairs, for God's sake, take the stairs. It was an impressive debut film for Dick Maas, but it was one that would place an albatross around the neck of his career.   One of his follow ups to The Lift, called Amsterdamned, would follow a police detective who is searching for a serial killer in his home town, who uses the canals of the Dutch capital to keep himself hidden. When the detective gets too close to solving the identity of the murderer, the killer sends a message by killing the detective's girlfriend, which, if the killer had ever seen a movie before, he should have known you never do. You never make it personal for the cop, because he's gonna take you down even worse.   When the film's producers brought the film to the American Film Market in early 1988, it would become one of the most talked about films, and Vestron would pick up the American distribution rights for a cool half a million dollars. The film would open on six screens in the US on November 25th, including the Laemmle Music Hall in Beverly Hills but not in New York City, but a $15k first weekend gross would seal its fate almost immediately. The film would play for another four weeks in theatres, playing on 18 screens at its widest, but it would end its run shortly after the start of of the year with only $62,044 in tickets sold.   The final Vestron Pictures release of 1988 was Andrew Birkin's Burning Secret. Birkin, the brother of French singer and actress Jane Birkin, would co-write the screenplay for this adaptation of a 1913 short story by Austrian novelist Stefan Zweig, about a about an American diplomat's son who befriends a mysterious baron while staying at an Austrian spa during the 1920s. According to Birkin in a 2021 interview, making the movie was somewhat of a nightmare, as his leading actors, Klaus Maria Brandauer and Faye Dunaway, did not like each other, and their lack of comfort with each other would bleed into their performances, which is fatal for a film about two people who are supposed to passionately burn for each other.   Opening on 16 screens in major markets on Thursday, December 22nd, Burning Secret would only gross $27k in its first four days. The film would actually see a post-Christmas bump, as it would lose a screen but see its gross jump to $40k. But after the first of the year, as it was obvious reviews were not going to save the film and awards consideration was non-existent, the film would close after three weeks with only $104k worth of tickets sold.   By the end of 1988, Vestron was facing bankruptcy. The major distributors had learned the lessons independents like Vestron had taught them about selling more volumes of tapes by lowering the price, to make movies collectables and have people curate their own video library. Top titles were harder to come by, and studios were no longer giving up home video rights to the movies they acquired from third-party producers.   Like many of the distributors we've spoken about before, and will undoubtedly speak of again, Vestron had too much success with one movie too quickly, and learned the wrong lessons about growth. If you look at the independent distribution world of 2023, you'll see companies like A24 that have learned that lesson. Stay lean and mean, don't go too wide too quickly, try not to spend too much money on a movie, no matter who the filmmaker is and how good of a relationship you have with them. A24 worked with Robert Eggers on The Witch and The Lighthouse, but when he wanted to spend $70-90m to make The Northman, A24 tapped out early, and Focus Features ended up losing millions on the film. Focus, the “indie” label for Universal Studios, can weather a huge loss like The Northman because they are a part of a multinational, multimedia conglomerate.   This didn't mean Vestron was going to quit quite yet, but, spoiler alert, they'll be gone soon enough.   In fact, and in case you are newer to the podcast and haven't listen to many of the previous episodes, none of the independent distribution companies that began and/or saw their best years in the 1980s that we've covered so far or will be covering in the future, exist in the same form they existed in back then.    New Line still exists, but it's now a label within Warner Brothers instead of being an independent distributor. Ditto Orion, which is now just a specialty label within MGM/UA. The Samuel Goldwyn Company is still around and still distributes movies, but it was bought by Orion Pictures the year before Orion was bought by MGM/UA, so it too is now just a specialty label, within another specialty label. Miramax today is just a holding company for the movies the company made before they were sold off to Disney, before Disney sold them off to a hedge fund, who sold Miramax off to another hedge fund.    Atlantic is gone. New World is gone. Cannon is gone. Hemdale is gone. Cinecom is gone. Island Films is gone. Alive Films is gone. Concorde Films is gone. MCEG is gone. CineTel is gone. Crown International is gone. Lorimar is gone. New Century/Vista is gone. Skouras Films is gone. Cineplex Odeon Films is gone.   Not one of them survived.   The same can pretty much be said for the independent distributors created in the 1990s, save Lionsgate, but I'll leave that for another podcast to tackle.   As for the Vestron story, we'll continue that one next week, because there are still a dozen more movies to talk about, as well as the end of the line for the once high flying company.   Thank you for joining us. We'll talk again soon.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

A chilling new nemesis in search of a firmware upgrade terrorises a literary coterie at the absolute zenith of its creativity

A chilling new nemesis in search of a firmware upgrade terrorises a literary coterie at the absolute zenith of its creativity

Ben's stuck in Patagonia with Ryan Sinclair, so Mark's joined by Dylan Rees from Doctor Who: Too Hot For TV to discuss two stories that introduce Mary Shelley to the Cybermen - The Haunting of Villa Diodati and The Silver Turk. But instead, Dylan and Mark discuss Paul McGann's Big Finish output more generally.Under discussion: The relative merits of Marc Platt's Doctor Who oeuvre, ghost sandwiches, Lord Byron's sexual deviancy, wise words from Terrance Dicks, and sarky butlers. Also: What does the Doctor Who theme tune sound like when put in a blender and punted down the stairs? What connects Doctor Who to King Kong? What does a Cyberman smell like? And how close were Big Finish to the edge of destruction in 2011?Support the showFollow us on TwitterLike us on FacebookBuy us a pint

Please join us as we get a jump start on our very favorite time of year: the Halloween season. This film is particularly appropriate as it portrays (in the way only Ken Russell can...) an infamous night of revelry and ghostly, disturbing goings on at the Villa Diodati. A night that spawned two new creatures: Frankenstein and the Vampyre. Here's a fun little piece about poor Polidori for your reading enjoyment https://stephanieweber.medium.com/poor-polidori-the-toxic-relationship-that-inspired-the-first-vampire-story-7f41fcc99227. Here's a piece about the tragic life of Shelly's first wife Harriette https://lynnshepherdbooks.wordpress.com/2020/10/25/this-fatal-catastrophe-the-sad-life-and-strange-death-of-harriet-shelley/. A fun little British review of Gothic with some inset interviews from the actors and Ken Russell https://youtu.be/mgsoav-L7j0. Oh! And if you're 18 or older, we present Thomas Dolby's stylings in his song (anthem) "The Devil is an Englishman" https://youtu.be/VuEk0h5nBAc. Link to Greg Olear on Sunstack article on Shelley https://gregolear.substack.com/p/sunday-pages-the-masque-of-anarchy?utm_campaign=post&utm_medium=web&utm_source=direct A very entertaining article from NCSE “Vermicelli and Vorticella” on the subject of Mary Shelley, Erasmus Darwin, pasta, and worms. https://ncse.ngo/vermicelli-and-vorticella

This week, a visit to Villa Diodati with 13 and the fam as we dip into Series 12's Haunting of Villa Diodati

Melvyn Bragg and guests discuss the influential novella of John Polidori (1795-1821) published in 1819 and attributed first to Lord Byron (1788-1824) who had started a version of it in 1816 at the Villa Diodati in the Year Without A Summer. There Byron, his personal physician Polidori, Mary and Percy Shelley and Claire Clairmont had whiled away the weeks of miserable weather by telling ghost stories, famously giving rise to Mary Shelley's 'Frankenstein'. Emerging soon after, 'The Vampyre' thrilled readers with its aristocratic Lord Ruthven who glutted his thirst with the blood of his victims, his status an abrupt change from the stories of peasant vampires of eastern and central Europe that had spread in the 18th Century with the expansion of the Austro-Hungarian empire. The connection with Lord Byron gave the novella a boost, and soon 'The Vampyre' spawned West End plays, penny dreadfuls such as 'Varney the Vampire', Bram Stoker's 'Dracula', F.W Murnau's film 'Nosferatu A Symphony of Horror', and countless others. The image above is of Bela Lugosi (1882-1956) as Count Mora in Metro-Goldwyn-Meyer's 'Vampires of Prague' (1935) With Nick Groom Professor of Literature in English at the University of Macau Samantha George Associate Professor of Research in Literature at the University of Hertfordshire And Martyn Rady Professor Emeritus of Central European History at University College London Producer: Simon Tillotson

Melvyn Bragg and guests discuss the influential novella of John Polidori (1795-1821) published in 1819 and attributed first to Lord Byron (1788-1824) who had started a version of it in 1816 at the Villa Diodati in the Year Without A Summer. There Byron, his personal physician Polidori, Mary and Percy Shelley and Claire Clairmont had whiled away the weeks of miserable weather by telling ghost stories, famously giving rise to Mary Shelley's 'Frankenstein'. Emerging soon after, 'The Vampyre' thrilled readers with its aristocratic Lord Ruthven who glutted his thirst with the blood of his victims, his status an abrupt change from the stories of peasant vampires of eastern and central Europe that had spread in the 18th Century with the expansion of the Austro-Hungarian empire. The connection with Lord Byron gave the novella a boost, and soon 'The Vampyre' spawned West End plays, penny dreadfuls such as 'Varney the Vampire', Bram Stoker's 'Dracula', F.W Murnau's film 'Nosferatu A Symphony of Horror', and countless others. The image above is of Bela Lugosi (1882-1956) as Count Mora in Metro-Goldwyn-Meyer's 'Vampires of Prague' (1935) With Nick Groom Professor of Literature in English at the University of Macau Samantha George Associate Professor of Research in Literature at the University of Hertfordshire And Martyn Rady Professor Emeritus of Central European History at University College London Producer: Simon Tillotson

A volcanic eruption turning 1816 into the "year without a summer." A group of Romantic poets stuck inside would change literary history forever. Support Noble Blood: — Bonus episodes and scripts on Patreon — Merch! — Order Dana's book, Anatomy: A Love Story See omnystudio.com/listener for privacy information.

CHAT WITH Producer PETE LEVY and TEAMTARDIS LIVE!The Legend of the Traveling TARDIS Team interviews Pete Levy. Pete has been visual effects producer for Jodie Whittaker's episode which include, "Revolution of the Daleks," "The Haunting of Villa Diodati," and "Ascension of the Cybermen."Pete has also been producer for three of the Doctor WHO Flux episodes "Chapter Three - Once, Upon Time," "Flux: Chapter Five - Survivors of the Flux," and "Flux: Chapter Six - The Vanquishers."Pete's credits also include, the mini series "Planet Earth" and "Black Mirror."SUBCSCRIBE - LIKE - COMMENT - SHAREFollow The Legend of the Traveling TARDIS on Social Media:► FACEBOOK - Facebook.com/TheTravelingTARDIS► YOUTUBE - YouTube.com/TheLegendOfTheTravelingTARDIS► WEBSITE - TheLegendOfTheTravelingTARDIS.com► INSTAGRAM - Instagram.com/legendtravelingtardis► IHEARTRADIO - http://iheart.com/.../966-the-legend-of-the-travelin...The Legend of the Traveling TARDIS covers the latest news, gives the most diverse reviews and fun interviews about the the Doctor WHO WHOniverse.► THE LEGEND OF THE TRAVELING TARDIS FAMILY OF SPONSORS:► Doctor WHO: Worlds Apart Virtual Card Game: doctorwho-worldsapart.com► FameTek / Speakers and Chargers: fametek.com

Cree en el ser humano como un todo, aboga por un mundo sin etiquetas rígidas y no entiende la felicidad sin la naturaleza, a la que considera “belleza suprema”. Amante de las palabras, la escritora y divulgadora Espido Freire lleva más de dos décadas dedicadas a las letras. “La palabra solamente tiene sentido cuando hay alguien para recogerla y para escucharla, el conocimiento solamente cobra un peso si se comparte”, asegura.  Espido Freire debutó como narradora con ‘Irlanda' y poco después publicó ‘Donde siempre es octubre'. Con su tercera obra publicada, ‘Melocotones helados', se convirtió en la ganadora más joven del prestigioso Premio Planeta. Licenciada en Filología Inglesa por la Universidad de Deusto, se especializó en Edición y Publicación de Textos. Es autora de numerosas novelas, ensayos, varias colecciones de cuentos y libros de poemas. En su trabajo le gusta explorar las voces que no han sido escuchadas. En particular, dice, las voces de las mujeres, de los niños y de las minorías en todos los sentidos. Interesada por la condición humana, una parte significativa de su obra está dedicada a la salud mental, patente en su novela ‘De la melancolía' o en sus ensayos ‘Primer amor' y ‘Los malos del cuento'.  Inquieta y polifacética, Espido Freire ha sido cantante de ópera, actriz, autora teatral, presentadora o docente. “No solamente creo que se puede enseñar a escribir, sino que he pasado gran parte de mi vida dedicada a crear y a elaborar sistemas para hacer más fácil esa posibilidad”, asegura desde su dimensión como profesora de escritura creativa. Entre sus últimos trabajos se encuentran el ensayo ‘Tras los pasos de Jane Austen' y la obra de ficción ‘Diccionario de amores y pesares de la A a la Z'. Recientemente ha publicado su primer audiolibro original,  ‘Las crónicas de Villa Diodati' - en el que desvela los grandes secretos de Mary Shelley- y acaba de lanzar el podcast semanal ‘Orgullos y prejuicios'.

Over the course of season three, we're going to be meeting the people involved in the making of the Big Finish Mary Shelley Trilogy, a trilogy in four parts. Kenny and Becca kick off their journey with a trip to Switzerland, as we discover how Mary's Story came about, as Jonathan Morris reveals he wasn't intended to be involved as its writer, and sound designer Thea Cochrane (another Scottish person - so Kenny's pleased!) reveals how she did the sound design. Brace yourselves - it's a stormy night out there at the Villa Diodati!

This is the one where the Doctor and her companions meet fake ghosts, real ghosts, Mary Shelley, and the cybermen's monster. The post 176 The Haunting of Villa Diodati appeared first on Noobs & the Whovian.

Join Jack & Joe as they dodge spooks, flirt madly, dance, get possessed, and unveil huge arc plots! We're hugely enamoured with this, for once on the same page, and discuss the many merits of an episode that reveals just how good this era can be when it gets everything right.

we are BEGGING lord byron to shut up, we share DW staff rumors to try and manifest them into reality, and we stand in awe of both mary shelley's and maxine alderton's brilliance. c/w: we briefly talk about miscarriages in the black archive.