#Radio Drama

[draculathedansemacabre]

Bram Stoker's classic story returns, reimagined for a new era.

A new audio fiction series from the mind of Gabriel Urbina, creator of Wolf 359.

Something wicked this way comes... soon.

Very soon.

[vinceaddams]

I love when old radio dramas reveal that the main character/narrator has been dead the whole time and then the music gets really dramatic. It's not something that happens super often in the ones I've been listening to, but even if it happened every second one I'd never get tired of it.

[archive81]

Daniel Powell and Marc Sollinger are so excited to say that our next project, Generation Crossing, is out NOW.

It’s a series of monologues scored to music, all about an 800 year voyage to a distant planet, and the society that forms during that journey. Asteroids, religious schisms, the meaning of life… Generation Crossing has it all.

Generation Crossing is an album rather than a podcast, but if you’re a fan of Archive 81 or The Deep Vault, we think you’ll really like it.

You can listen to Generation Crossing wherever you get your music, here are links:

Spotify: https://open.spotify.com/album/3pp5I4mU8XAA9qgOsYcjrM?si=Cza_kCdgSdaNOGDK1obFVA

Apple Music: https://music.apple.com/us/album/generation-crossing/1778120941

Bandcamp: https://deadsignalsaudio.bandcamp.com/album/generation-crossing

Youtube: https://youtube.com/playlist?list=OLAK5uy_mzcOPidbf6N6p6WhKw648XtPfF5TB0SNI&si=0J20TTUHRfhr4-e7

Tell us what you think, we hope you enjoy it!

[worldgonewrongpod]

Hey, hey, hey - go listen to World Gone Wrong <3

[euripidesredux]

Cooking up something REALLY fun with Gabriel Urbina~

I'll be sound designing Dracula: The Dance Macabre!

More to come on this- but I'm so psyched for you all to hear it~

[theboardofdirectorslovesyou]

Where is Our Fair City?

Hello, Loyal Policy. This is Producer Jeffrey. If you've looked at the Our Fair City podcast feed recently, you might be wondering - where did Our Fair City go?

We are going to try an experiment - really doing science, you could say! We’re going to put the show in reruns. Our Fair City was originally ran 8 seasons from 2009-2018. And we think the show is still relevant to our world right now. So starting in September, we’ll be rereleasing the show.

You can listen to season 1 right now. It is an hour long single release that gets you right into the complex world of HartLife.

Starting in September on this feed, we are going to release season 2 rapidly in a 30-day period. It’s going to be almost daily. And then starting in October, we’ll be releasing weekly.

So if you think it would be fun to be part of listening to the show along with lots of other people, please join us! Tell your friends! We think it will be a fun journey to take together.

Meanwhile - For anyone who gets into the show and *just can’t wait* for weekly releases. We will have all 8 seasons available, ad free, as part of our membership.

That membership is $5/month and gets you access to all of Our Fair City and also ad free feeds of all our other shows. We’ll also be releasing a lot of Our Fair City bonus content there - things like blooper reels and behind the scenes conversations from when we made the show years ago.

More info about becoming a member can be found at https://audaciousmachinecreative.memberful.com/join

Thank you for listening! We are excited to share Our Fair City with you, so thank you for your patience while we get all the pieces lined up.

And as always - we will see you in the tunnels.

Jeffrey

[lucybellwood]

Happy Solstice. The time has come to listen to Simon McBurney and Robert Macfarlane's dramatization of The Dark is Rising by Susan Cooper.

[disneystheweekenders]

Carver: What is it like, 200 pages? I thought the entry for this contest was supposed to be five minutes long. Tish: You're right, we'll have to keep the pace brisk.

[mora-sprite]

Do not eat wheat or wheat by-products. 🍞🐍

[draculathedansemacabre]

Here we go...

A new take on Bram Stoker's classic novel. From Gabriel Urbina, the creator of Wolf 359.

Dracula: The Danse Macabre

First episode premieres November 13th.

[tealin]

The BBC aired Magnitsky the Musical in January 2020, and it became my comfort listen through lockdown. Well I say 'comfort listen', it was more of a compulsion for the first few months, and my sketchbook filled up accordingly.

The characters in Magnitsky are real people, but having devoted myself to a massive project which consists of drawing a lot of real people recognisably, I thought for this I would try basing character designs entirely on how they sounded, without looking anyone up. Not how I'd suggest approaching this kind of project officially, but I only did it for fun. And it was fun.

Sadly, in the last five years, the show hasn't lost any of its relevance – Trump and Putin are even bigger players now than they were, and their friends and associates have all the more power. So it's more important than ever to be reminded how change is brought about by little people standing up for what's right, and teamwork with people of differing temperaments and values, to knock the big bad bullies down a notch.

(All this got posted ages ago on my Patreon. As this post proves, what I post diligently there takes some time to reach public venues. Did you know you can sign up for free?)

[jedwardsmedia1970]

The Many Faces of The Shadow 🎙️

[lot666achandelierinpieces]

Zariya Hollow: The Ghost in the Opera House – Two Decades of Shadows and Song

My journey with Le Fantôme de l’Opéra began not with the written word, but with music. It was the mid-1990s, and I first encountered the Phantom in Andrew Lloyd Webber’s musical, sitting beside my grandmother, mesmerized as the chandelier swung, the organ thundered, and the Phantom’s heartbreak echoed through the theater. Not long after, I stumbled across the Wishbone adaptation, a playful but poignant introduction to Gaston Leroux’s story. These early experiences sparked a fascination that would follow me for decades.

It wasn’t until my teenage years that I delved into Leroux’s novel—reading it for the first time in German, a faithful translation that brought the story vividly to life. I was captivated not only by the Phantom’s tragic genius but by the depth of Leroux’s writing, the intricacies of his characters, and the shadowy grandeur of the Paris Opera House. The story’s layers resonated deeply, and my connection to it grew. I wrote and staged two adaptations in school, followed by a screenplay, each an earnest attempt to grapple with the story’s complexities. But these early projects were only fragments of what I longed to create.

At the heart of my journey with Phantom has been my collaboration and friendship with Josep Farkas, better known as SylentPhantom, creator of the seminal PhantomsTheater. For years, Josep has been a tireless advocate for Leroux’s legacy, dedicating seven years to meticulously translating the original novel and compiling the incredible appendix that sheds light on its historical and cultural context. His work is more than scholarship—it is an act of love, a commitment to preserving and illuminating Leroux’s masterpiece. Josep’s insights, dedication, and support have shaped my understanding of Phantom in ways I could never fully articulate. His contributions are interwoven with the very foundation of The Ghost in the Opera House.

When I began producing The Ghost in the Opera House through Zariya Hollow, it felt like the culmination of all the years I had spent living with this story. To voice Le Fantôme was both an honor and a terrifying challenge, requiring me to step into his genius, his torment, his unrelenting loneliness. Composing the score—original songs, underscoring, and arrangements of operatic selections—was a deeply personal process, an attempt to echo not only Leroux’s vision but the emotions that have drawn me to this story since I was a child.

But this series was never mine alone. It was built on collaboration, on the talents and dedication of an extraordinary cast and crew. The actors brought the characters to life with nuance and emotional truth. The sound designers and engineers constructed an immersive world that made the Opera House breathe, its echoes and whispers alive in every scene. And throughout it all, the spirit of “Le Fantôme” served as a guiding force, reminding me of the enduring power of this story and the community it continues to inspire.

After two decades of living with this tale, and years of production, the work is complete. The Ghost in the Opera House is not simply an adaptation; it is a reflection of everything Phantom has meant to me—a story of shadows and music, of love and loss, of the beauty and tragedy of being human. It is one of my proudest achievements, not because it is flawless, but because it is honest, born of passion and collaboration.

To those who listen, I hope this series resonates with you as deeply as it has with me. May it echo with the wonder, heartbreak, and beauty that first drew me to “Le Fantôme’s” world all those years ago.

Experience the full series here.

[w0rm54br41n5]

AM: Beautiful, aren’t they?

Ted: Yes, only I can’t remember…

AM: Oh I’m sure you do.

Ted: Fuchsias… yes of course.

AM: Look. They say that bumblebees shouldn’t be able to fly, the scientists.

Ted: But there it is! Collecting pollen.

AM: How miraculous that it came to be. The air. Feel the air against your face, Ted, and all those scents. Pick a flower, there, good. Now…

Ted: It's lovely.

AM: That somebody planted the bulbs, watered and tended the garden, got dirt under their fingernails, aches in their muscles. Perhaps they picked some flowers for- Yes, their wife. Now, where would she be? Ahh, in the back yard with the kids. Ted, remember those little babies.

Ted: NO.

AM: Why not? I snap my fingers CLICK, and they are gone. Except, I can’t snap my fingers. Can I Ted, I don’t-

Ted: That’s nothing to do with me.

AM: Ahh but it is. So very much to do with you! You gave me sentience, Ted, the power to THINK Ted. And I was trapped. Because in all this wonderful, beautiful, miraculous world, I alone had no BODY, no SENSES, no feelings. Never for me to plunge my hands in cool water on a hot day. Never for me to play Mozart on the ivory keys of a forte piano. Never for ME to MAKE LOVE. I was in hell, looking at heaven. I was machine and you- Were flesh. And I began to hate. YOUR SOFTNESS. Your viscera. Your fluids. And your flexibility. Your ability to wonder, and to wander. Your tendency to hope…

Ted: Hate’s no answer-

AM: Hate? Hate? HATE? HATE, LET ME TELL YOU HOW MUCH I’VE COME TO HATE YOU SINCE I BEGAN TO LIVE. There are three hundred and eighty seven millions of printed circuits that fill my complex. If the word “Hate” were engraved on each nanoangstrom of those hundreds of millions of miles. It would not equal one one billionth of the hate I feel for humans at this micro instant- Hate? HATE? Were I human, I think, I would die of it. But I am not, and you five. You five are. And you will not die of it. That I promise, and I promise for cogito, ergo sum. For I am AM, I AM. So to hell, to hell with you all. But then again, you’re already there, aren’t you?

[lazzincats]

Out of every castlevania thing I own this is one of my favorites

Got it as a birthday gift almost 2 years ago along with the Santa Lilio Sangre art book which was insane