A Love Story

We have assembled an incredible cast to populate the tiny village of Beck's End.

Check our blog for the gorgeous concept art we have of each character, and check out our Kickstarter page to see some of these amazing people in action and to help us bring Beck's End and the folk horror story found therein to your RSS feeds!

Happy Monday! S2 E23, Utility and Sentiment, is out now! You can find it haunting your local podcatcher, or you could try interrogating an enemy’s old associates for a chat with this week's ghost, voiced by the incomparable Tal Minear.

Part one: We are thrilled to announce that Dracula: 2004 is officially a winner for Colorado Webfest 2026, for Best Theme Song (Audio Fiction)! We are particularly happy for our wonderful composer, Joash Kari, who wrote and performed the theme song himself (inspired, of course, by Buffy the Vampire Slayer). We hope you'll all go and take a listen to his amazing music here: https://dracula2004.wordpress.com/music/.

Part two: Our second piece of exciting news is that we have a release date for Episode 26! Eps 26 and 27 were unfortunately delayed due to recording issues, but everything is once again in place, and we are go for the final two episode of Part Two: Veins.

Chapter Twenty-Six: Left Outside Alone of Dracula: 2004 will release this Saturday on the 20th June, and normal scheduling will resume from there. Don't forget to tune in!

Our season 3 Kickstarter is live! Fawx & Stallion is a comedy-mystery podcast about the best detective team in London! Not that one. The other one. Across the street, and slightly to the left, at 224B Baker Street. We've successfully solved two mysteries, and we'll need your help to get a crack at a third! Scripts are written, pre-production has begun, and all we need is the funding to make this show's engine start in earnest!

Season one of the show was primarily self-financed, and season two's 10 episodes were crowdfunded and produced for $8000. For season 3, we are telling a story unlike any you've heard, with 12 full-cast episodes. Thank you to our Patreon members who have helped finance our pre-production and our wonderful team of five guest writers! For this season, we are asking for $10,000 to bring this sprawling, absurd, ambitious story to life.

We invite you to check out our crowdfunding page, which is live now, for more info on the season, our budget breakdown, and our fantastic set of rewards (early access! annotated Holmes stories! stickers! for the first time, the opportunity to name a character or provide walla for the show!)

In the interest of highlighting our rewards, take a look at our first set of 4 stickers, because we have an offer for you: help us get $3000 in pledges in the first 72 hours, and we'll add a FIFTH pride-themed sticker to all $30 and up tiers!

More info about the season under the cut!

Heracles: No, he wouldn't look back. Partly because he's smart enough to know it wouldn't change anything, and partially because he knows the Gods well enough that Hades keeps his word. Eurydice gets out and they high five. Unfortunately he misjudges the strength of his high five and Eurydice spends her first couple of weeks back to life with her arm in a cast.

Jason: Oh yeah. This dumbass looks behind him before he leaves Hades throne room and then loudly insists that NO HE DIDN'T HE TOTALLY DIDN'T AND IS HE DID IT WASN'T HIS FAULT IT'S EURYDICE'S FAULT! Eurydice is just like "maybe I'm better off here."

Perseus: Nope. He's a good boi who pays attention and blindfolds himself to make sure he doesn't, feeling his way along the path to make sure he doesn't trip. It takes him longer to get out, but they DO get out.

Theseus: Actually they do get out. Not because Theseus is smart enough to not look back or anything but because he's too self important to look back. The moment she steps outside the Underworld, Eurydice is running at top speed and Theseus never bothers to check to see if she's still following.

Odysseus: He cheats, using a polished mirror to keep track of her through the reflection the way Perseus kept track of Medusa. Unfortunately because he thought he outsmarted the system he fails to look where he's going, looses his footing, the mirror, and accidentally looks back anyway. Too clever for his own good, he was the architect of his own failure.

Atalanta: She learned from the apple-race-incident. Looking back will only slow her down. She bolts back up to the surface in record time only to actually manage to loose Eurydice on the way. Whoops.

Ariadne: Her sentimental ass looks back, sorry Eurydice, it was in the name of love.

G.O.B.L.I.N.S merch is here!

You can now buy these amazing designs from Andrew @cloudyappleart on anything your heart desires, from t-shirts to phone cases. Visit our RedBubble store and make your life complete. 

The perfect answer to literally all your gifting and personal styles needs forever

Today we're celebrating one of our canonically queer characters in Dominus, Father Jonas Katigbak, for HIS month and HIS day as a baklang aktibistang pari (Gay activist priest).

(art by wolfythewitch and jaradraws)

I won't spoil too much for the series at large, but I can confirm that Jonas is canonically gay.

He was gay long before he became a priest, and this fact did in some small way contribute to him becoming a priest in the first place.

It's also one of the reasons he almost didn't become a priest at all.

His favourite director is Lino Brocka, a gay radical antifascist filmmaker and national artist of the Philippines, and his favourite film is Brocka's "Macho Dancer", which is what helped him come to terms with his sexuality.

(which just released a 4k restoration trailer on Youtube LAST WEEK??? complete coincidence btw I had no idea it was happening)

And while he doesn't talk about his queerness publicly due to his position, it's not exactly a secret among the nuns in his parish. Jonas can definitely be heard chanting a familiar chant at protests alongside other queer radicals:

MAKIBEKI! WAG MASHOKOT! 🌈✊🏽🗣️

This has been a long time coming, we're beyond excited to finally have reached the point where we can say:

Please join us on Kickstarter to help make Beck's End, our atmospheric folk horror audio drama, a reality!

We're working with some fantastic people to make this happen, and we are absolutely certain you'll love what we're making. Once the show is made it will be released for free, in full, for everyone (the Shadows at the Door guarantee!) but in order for that to happen, we need some help in the coming month. Please support our campaign if you can, any amount you can spare will help, and if you cannot – trust us, we know what the times are like – a reblog, or a share, or a "hey look at this thing I found on tumblr" to a friend or a discord server will all be massively appreciated too. The AD community on here is one of the best corners of the internet, and we can't wait to bring you a brand new show to love!

the new season has been out since mid-April and we are already halfway through it. i know the WTNV team has been posting about it on their social channels for months leading up to it. i dont think we are doing anything differently, promotion-wise, than we did with the first three seasons which seemed to find their audience much more quickly.

personally i find it rather frustating given the amount of work we put into this show, but im not really sure what to do about it. i know part of it is down to the fact that audiofiction is a far more competitive field than it used to be, and there's also so much noise and chaos in the world these days that its hard to find anything, and so many terrible problems that fiction feels less important.

First and foremost, the ways in which shows are shared online have fundamentally changed since the original run: the advent of short form video has been catastrophic for spreading this kind of information. Part of that is audience behavior but more of it (in my opinion) is that people are no longer curating their sources of information because the tiktok, reels, and shorts algorithms do it for them. I think this is why we've seen so much emphasis on moving to email lists again as a common piece of advice - there's just no way to guarantee that your own fans are even aware of what you're up to otherwise. This is a huge problem especially for Alice Isnt Dead because it's been a while since the initial story ended, and I have not personally heard anything about the new story outside of "it exists!" For me personally that's enough to check it out, but if that's what *I* know as an active fan of the project, I imagine many people know even less.

On a story level, I also think you're probably fighting an uphill battle because the initial run ended fairly definitely; because it's so hard to get that hook out into the world of what the show is even about, you're also fighting people's sense of satisfaction with the ending. Audiences who were avid fans when it was first active may not feel the urgency to come back without that essential intrigue, and they may not be getting exposed to the intrigue at all given how hard it is to spread across the siloed and atomised internet.

All of this combines to mean that the old strategies for promotion are 100% less effective! It's not just you! The solution isn't even as simple as "hire someone to make a bunch of short form videos for it" because from what we can tell shorts don't even consistently convert into full listeners. What works for commodity advertising doesn't seem to work as well for audio fiction. It's a nightmare out here.

In my experience, having made this show fully after the death of Twitter and in the midst of the current ecosystem, the things that have been most helpful are traditional trailer swaps for shows on networks and from individual programs that are close to the niche I'm in. Nothing else has come close to moving the needle to that degree because news just doesn't move like it used to.

As we continue working towards Season Two, and on the anniversary of Season One, please enjoy our second minisode! Titled "1985"

Find it at the link below, or wherever you get your podcasts.

Content Warning: Static, themes of captivity and surveillance, and implied torture. Listener discretion is advised.

The Holmwood Foundation is a Found Footage Horror-Fiction Podcast, a modern-day sequel to the gothic novel Dracula.

We follow Maddie Townsend (Rebecca Root) and Jeremy Larkin (Seán Carlsen), two co-workers at the Holmwood Foundation: a secret organisation that has been maintaining and studying the remains of Count Dracula for the last 130 years, as they are possessed by the ghosts of Jonathan and Mina Harker, and embark on a nightmare road trip, carrying Dracula's severed head across the UK, in an effort to stop him once and for all.

EPISODE CAST AND CREW: Asset #6/Elena - Jackie Calistahhh Young Jonathan Harker 3rd - Jonathon Carley Scientist - Anusia Battersby The episode was produced and written by Georgia Cook and Fio Trethewey. Directing by Samuel Clemens. Script Editing by Katharine Armitage. Sound Design and Engineering by Benji Clifford The Theme music was composed and produced by Duncan Muggleton, and the episode art was produced by Georgia Cook

For more information, as well as transcripts and further Cast and Crew details, please visit our official website:

www.theholmwoodfoundation.com

I really love the person whose Remnant is featured in this one, I can't even really articulate why. I wonder how you'll feel about her.

General release coming Thursday, listen now on Patreon:

In case you missed it: The In-Character Q&A is out now, and the Behind the Scenes one is coming soon!

There’s going to be a disclaimer at the start of the next episode, but the long and short of it is that my lines for these episodes were recorded quite a bit later than the rest of the season, and the result is… an out-of-character voice change that doesn’t really make sense for the timeline of S2.

BUT, if you’re all very kind and choose to Suspend your Disbelief for three episodes, I have written a time jump into S3 that allows me to introduce Leo’s shiny new t-voice diegetically, so I promise you won’t have to suspend that disbelief for too long!

And in exchange, you get some extra silly bloopers of me trying to put this new and unfamiliar voice to good use: