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Speaker 1: Hello, it's Richard MacLean Smith here, not the impostor you've

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Speaker 1: been listening to on the podcasts the real One. Join

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Speaker 1: me for Unexplained TV at YouTube dot com forward Slash

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Speaker 1: Unexplained Pod. Human beings tend to see the world as

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Speaker 1: a reflection of ourselves. We have a habit of finding

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Speaker 1: or even projecting our own characteristics and values onto the

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Speaker 1: non human. Take a cursory glance at folk tales from

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Speaker 1: prehistory to Hollywood, and you'll see how often we transform

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Speaker 1: other animals, plant life, and even inanimate objects into vessels

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Speaker 1: for human behavior. Just think of the chatty furniture in

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Speaker 1: Disney's The Beauty and the Beast. It's our inescapable, narcissistic

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Speaker 1: way of making sense of the world. Maybe we can

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Speaker 1: only truly empathize with beings and bodies if we anthropomorphize them,

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Speaker 1: which is to say, perhaps we're only comfortable with things

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Speaker 1: that look nothing like us as long as they act

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Speaker 1: like us. But what about the opposite, What about things

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Speaker 1: that look human that share our general physical contourts, but

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Speaker 1: who are not like us at all. Such off kilter

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Speaker 1: reflections can evoke unease, anxiety, even fear. In the nineteen seventies,

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Speaker 1: a Japanese robotics expert named Massa hero Maurri examined this phenomenon.

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Speaker 1: He suggested that in general, the closer something resembles a

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Speaker 1: realistic human being, the more positive our response to it.

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Speaker 1: For instance, if a human or robot followed our basic

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Speaker 1: physical template and possessed an artificial intelligence with which we

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Speaker 1: could communicate, we'd have much more natural affinity for it

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Speaker 1: than we would for a pile of loose hard drives

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Speaker 1: and wires sitting on a desk. However, Murray also noted

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Speaker 1: an anomaly in this hypothesis. There is, he believed, a

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Speaker 1: point just before something becomes completely indistinguishable from a real

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Speaker 1: human in which we begin to fixate on the last

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Speaker 1: small degrees of difference and they horrify us. It turns

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Speaker 1: out we would rather something be explicitly signposted as recognizably

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Speaker 1: other than be almost but not quite us. This is

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Speaker 1: a concept known as the uncanny valley, so named for

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Speaker 1: the sharp drop in our positive response when plotted on

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Speaker 1: a graph. It's a term that's become more and more

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Speaker 1: relevant with the rise of sophisticated technology that can create

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Speaker 1: human like figures, whether they are lifelike robots, photorealistic animations

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Speaker 1: and video game characters, or those strange, deaged actors now

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Speaker 1: common in movies. Get these depictions marginally wrong, as Robert

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Speaker 1: Zemachus famously did in his two thousand and four animation

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Speaker 1: The Polar Express, and you'll send many kids and some

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Speaker 1: adults home from the cinema with a profound sense of unease.

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Speaker 1: Zemachus's movie is full of dead, glassy eyes and facial

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Speaker 1: expressions that reach for but do not quite convey human emotion.

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Speaker 1: For those with young children. You might have found something

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Speaker 1: similar in the indefatigable series of cartoons known as Cocoamelon.

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Speaker 1: And that creepy aspect of the Uncanny Valley goes much

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Speaker 1: further back than cinema. It seems to be heart baked

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Speaker 1: into our instincts. You're listening to Unexplained, and I'm Richard

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Speaker 1: mac lean Smith. One intriguing and alarming idea is that

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Speaker 1: our aversion to the uncanny is a defense mechanism, a

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Speaker 1: trace memory of a time when humanity perhaps came into

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Speaker 1: contact with a mysterious predator that either looked like us

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Speaker 1: or was able to pretend well enough in order to

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Speaker 1: draw close and then hurt us. More recently, the widespread

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Speaker 1: fear of clowns has been attributed to the uncanny Valley,

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Speaker 1: specifically the gulf between what a clown's face seems to

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Speaker 1: indicate and their contrasting behavior. We just can't read them,

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Speaker 1: and that leaves us us wrong footed and afraid. Other

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Speaker 1: theories suggest that our fear of the almost but not

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Speaker 1: quite human is actually just one more manifestation of our

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Speaker 1: fear of death. A corpse, after all, is a human

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Speaker 1: being with the spark gone from the eyes and a slack,

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Speaker 1: passive face. That's impossible to interpret. But there is one

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Speaker 1: version of human imitation that we treat more positively on

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Speaker 1: the whole. Though it is as inscrutable as a clown

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Speaker 1: or a corpse, it appears across cultures and throughout time,

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Speaker 1: a samilocrum that seems to have always been by our side,

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Speaker 1: into which we invest profound emotion and from which we

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Speaker 1: take great comfort. What happens though, when that comfort turns

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Speaker 1: to terror. Jeane Otto first met Robert in nineteen o four,

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Speaker 1: when Jean was four years old. The two quickly became inseparable.

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Speaker 1: A pair of twin shadows flitting around Jean's family home

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Speaker 1: at five hundred and thirty four Eaton Street in Florida's

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Speaker 1: Key West. The pair would play together and eat together

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Speaker 1: at the dinner table. Robert even sat at the side

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Speaker 1: of the tub while Jean bathed, and then they would

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Speaker 1: be tucked in to sleep side by side in Jean's

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Speaker 1: small bed. It should have been a consolation for Minnie

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Speaker 1: and Thomas Otto that Jean, their imaginative, sensitive child, had

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Speaker 1: such a close companion. But Robert was not a school

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Speaker 1: friend or a boy from the neighborhood. Robert was a

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Speaker 1: three foot tall cloth doll stuffed with straw and wool.

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Speaker 1: There is some uncertainty as to how Robert first came

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Speaker 1: into the Otto family's possession. One origin story begins with

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Speaker 1: Jean's grandfather bringing the doll home as a birthday gift

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Speaker 1: from a trip to Germany. That's where the doll was

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Speaker 1: manufactured in the town of Gingen by the Stife Company,

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Speaker 1: celebrated toy makers, who are credited with making the first

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Speaker 1: ever teddy bear in nineteen o two in honor of

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Speaker 1: then U S President Theodore Roosevelt. Another darker legend claims

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Speaker 1: that Robert was gifted to Jean by a servant of

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Speaker 1: the Ottos who was very close to the young boy.

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Speaker 1: As the story goes, when she was unfairly fired by

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Speaker 1: Jean's father, the servant, who hailed from the Bahamas, resorted

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Speaker 1: to voodoo practices for her revenge, infusing the doll with

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Speaker 1: strange powers and unnatural properties. Neither story has been verified,

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Speaker 1: though research certainly gives the former more weight. Robert was

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Speaker 1: indeed a Stife product, although it seems he was not

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Speaker 1: designed as a doll at all. Rather, the oversized, unfinished

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Speaker 1: model was intended only as part of a clown display

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Speaker 1: for a shop window. Robert the doll's face is unpainted

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Speaker 1: and strangely expressionless, slightly simion in shape. It's completed by

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Speaker 1: a pair of beaded eyes and an unnerving shallow mouth,

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Speaker 1: half carved in an unsettling jestures smile. At some point,

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Speaker 1: Jean's mother, Minnie, thought it fitting to dress the doll

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Speaker 1: in a blue and white sailor's costume made from sackcloth.

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Speaker 1: She'd originally bought it for her son, but he'd since

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Speaker 1: outgrown it. She thought it amusing how cute Robert looked

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Speaker 1: in it. Then Jean thought it only right that Robert

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Speaker 1: had his own stuffed toy, a ragged dog like bundle

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Speaker 1: that Gene arranged to fit neatly under Robert's arm, as

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Speaker 1: if he were deliberately carrying it around. As for Robert's name,

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Speaker 1: it was Jane who chose it, or rather gave it

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Speaker 1: to him. Quite literally. Jean had been christened Robert Eugene Otto,

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Speaker 1: but in an act of friendship, Jeane decided to give

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Speaker 1: the name Robert to his new friend and instead took

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Speaker 1: the shortened version of his middle name for himself. He

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Speaker 1: would go by Jane for the rest of his life,

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Speaker 1: both in name and appearance. The lines began to blur

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Speaker 1: early between the boy and his doll. The pair were inseparable,

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Speaker 1: with Jeane often seen lugging him from room to room,

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Speaker 1: the doll cumbersome and unwieldy in the little boy his arms.

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Speaker 1: At times, Jean's parents, Minnie and Robert, would hear talking

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Speaker 1: coming from a distant room of the house, only to

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Speaker 1: find Jean and Robert sitting cozily together as Jeane whispered

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Speaker 1: conspiratorially into the ear of his fabric playmate. One day,

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Speaker 1: Minnie found another stuffed toy of Jean's on the floor

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Speaker 1: of his room, ripped apart, with its inners strewn across

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Speaker 1: the floorboards. It wasn't me, said Jeane innocently when she

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Speaker 1: confronted him about it later. It was Robert. Other times

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Speaker 1: furniture was found overturned, books in heaps at the bottom

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Speaker 1: of shells, dishes broken, and every time it was the same,

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Speaker 1: It was Robert. Jean would plead, Robert did it? Such

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Speaker 1: deferred responsible ability is standard childlike behavior, as is the

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Speaker 1: investment of personality in a dull or imaginary friend. Psychologists

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Speaker 1: call such things transitional objects, inanimate items that children imbue

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Speaker 1: with personal meaning that provide comfort and help bridge the

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Speaker 1: gap between dependence and independence. But the era's nascent chance.

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Speaker 1: Psychology could not explain what Jean's parents later heard coming

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Speaker 1: from their son's room. It was Thomas's father who heard

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Speaker 1: it first, that same conspiratorial whisper from his son, but

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Speaker 1: this type accompanied by a completely different voice. Minnie and

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Speaker 1: Thomas would often listen at Jean's bedroom door to the

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Speaker 1: strange chatter coming from within. The pair of distinct voices

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Speaker 1: ricocheting back and forth. One spoke in the high, lilting

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Speaker 1: tenor of a child, but the other was deep, rough

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Speaker 1: and demanding, often shading into anger. But what was most disconcerting,

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Speaker 1: according to Minnie, was that the two voices often overlapped

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Speaker 1: they were speaking at the same time. On one occasion,

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Speaker 1: Minnie became so unnerved by the voices she heard coming

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Speaker 1: from Jean's bedroom that she couldn't help herself from bursting

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Speaker 1: in to try and bring an end to it. What

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Speaker 1: she found shocked her deeply. There huddled in the corner

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Speaker 1: of the room was Jeane, while Robert the doll was

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Speaker 1: sat upright in a hard backed chair, his inscrutable gaze

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Speaker 1: seemingly pinned on the frightened boy, who appeared to be

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Speaker 1: doing all he could to hide from him. It was

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Speaker 1: some time later, when Jean was ten years old, that

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Speaker 1: Minnie and Thomas were woken by screams for help coming

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Speaker 1: from their son's room. They rushed to his door, only

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Speaker 1: to find it inexplicably jammed shut. Together, they wrestled desperately

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Speaker 1: with the handle as their son continued to shriek for

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Speaker 1: help from inside, until finally they wrenched the door open.

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Speaker 1: They found Jean carying in fear at the back of

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Speaker 1: the room. The contents of which were in complete disarray,

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Speaker 1: with toys and furniture strewn all about. Through hitching breaths,

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Speaker 1: Jean told them that he had awoken to find Robert

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Speaker 1: sitting at the foot of his bed. When he cried out,

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Speaker 1: the doll had become enraged and reached havoc in the

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Speaker 1: room before locking the door. In shock, A pale faced

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Speaker 1: Minnie scanned the room. Even pieces of furniture far too

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Speaker 1: heavy for Jean to have moved on his own, had

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Speaker 1: been completely tipped over. Whatever strange dynamic had developed between

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Speaker 1: Jean and Robert, it soon began to spread to the

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Speaker 1: rest of the house. One afternoon, according to one maid,

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Speaker 1: giggles were heard coming from somewhere in the house. When

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Speaker 1: they followed them, they were led to a room that

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Speaker 1: was completely unoccupied save for Robert the Doll, who seemed

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Speaker 1: to appear there as if from nowhere. Another maid claimed

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Speaker 1: when they were cleaning the house one morning, she caught

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Speaker 1: a movement out of the corner of her eye. When

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Speaker 1: she looked up, she was certain she saw the legs

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Speaker 1: of Robert the Doll's sailor suit disappearing around a bend

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Speaker 1: in the staircase. When no one else was at home.

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Speaker 1: Visitors to the Otto household showed a distinct aversion to Robert.

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Speaker 1: Several reported seeing the doll's blank expression subtly shift, or

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Speaker 1: his lidless eyes blink. Others also heard giggles from rooms

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Speaker 1: occupied only by the doll. All impossibilities, it seems. But

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Speaker 1: as the strange events around the doll began to escalate,

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Speaker 1: staff began to quit and Jean's friends called less frequently.

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Speaker 1: At some point, an aunt of Thomas Otto's came to visit.

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Speaker 1: She was so unsettled by Robert and his influence over

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Speaker 1: Jean that she demanded the doll be cast out at

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Speaker 1: the house. Immediately aware of how deeply his son cared

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Speaker 1: for the eerie toy, even if he did seem so

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Speaker 1: often afraid of it, Thomas instead compromised by removing Roberts

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Speaker 1: to the attic. He promised he would remain there for

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Speaker 1: the rest of his aunt's visit. The following morning, Thomas's

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Speaker 1: aunt failed to show for breakfast. When a maid was

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Speaker 1: sent for her, they discovered a horrifying scene. The aunt

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Speaker 1: lay dead in her bed. The coroner recorded the death

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Speaker 1: as a severe stroke, but when the Otto's later retrieved

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Speaker 1: Robert from the attic and Jean's insistence. They did so

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Speaker 1: with a renewed and heightened nervousness. For the rest of

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Speaker 1: Jean's childhood, the doll would not leave his side. Over time,

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Speaker 1: Jean would eventually grow up and be forced to leave

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Speaker 1: Robert behind. He studied art at Chicago's Academy of Fine Arts,

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Speaker 1: then joined the Art Students League in u He traveled

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Speaker 1: through Spain and Italy before studying in Paris at the

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Speaker 1: Academy Julianne, following in the footsteps of his famous countrymen

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Speaker 1: James McNeil, Whistler and John Singer Sargeant. It was in

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Speaker 1: Paris that he met Annette Parker, a young woman from

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Speaker 1: Boston who'd moved to the city to study music. On

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Speaker 1: May third, nineteen thirty the two were married. Initially, they

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Speaker 1: moved back to New York City, where Annette or Anne

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Speaker 1: as she was known, performed as a pianist at the

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Speaker 1: revered Rainbow Rooms in the Rockefeller Centre. Jean continued to paint,

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Speaker 1: honing the skills that would make him an artist of

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Speaker 1: some latter renown. In nineteen thirty four, the young couple

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Speaker 1: decided to move to key West into Jean's family home,

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Speaker 1: which he renamed the Artist's House. Though five hundred thirty

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Speaker 1: four Eaton Street looked just as he remembered, in truth,

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Speaker 1: much had changed. His father, Thomas, had died in nineteen

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Speaker 1: seventeen at only fifty two years old. His mother, Minnie

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Speaker 1: was still living, though she suffered from mental decline during

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Speaker 1: her widowhood. By then, she had vacated the house and

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Speaker 1: lingered on as a frail facsimile of the woman she'd

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Speaker 1: been until her own death in nineteen forty five. Robert, though,

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Speaker 1: was very much still there, and when Jean returned home,

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Speaker 1: he quickly resumed his attachment to the doll. At dinner times,

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Speaker 1: Robert was afforded his own seat at the table, and

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Speaker 1: was even brought into the marital bed to lie beside

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Speaker 1: Jean and Anne. During the day, Jean propped Robert up

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Speaker 1: in an upstairs window facing the street. It wasn't long

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Speaker 1: before passing school children began to spread rumors about the dolls,

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Speaker 1: supposedly changing expressions and blinking eyes. Some even reported that

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Speaker 1: Robert would duck out of sight, only to reappear again

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Speaker 1: moments later. Anne quickly and understandably took a dislike to

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Speaker 1: the doll, and eventually Robert was dispatched back to the attic.

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Speaker 1: One day, when walking home, Anne looked up to see

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Speaker 1: the infernal doll staring at her from out of the

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Speaker 1: attic window. When she asked Jeane about it, he explained

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Speaker 1: simply that Robert had requested that if he were to

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Speaker 1: stay in the attic, did he at least have a

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Speaker 1: view of the street. Quite what the ensuing decades of

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Speaker 1: Jean and Anne Otto's married life was like is hard

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Speaker 1: to say. Stories persisted for years, such as Robert appearing

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Speaker 1: suddenly downstairs despite having seemingly been left in the attic.

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Speaker 1: Anne and Jean were also said to regularly find him

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Speaker 1: sitting in a rocking chair by a window on the

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Speaker 1: second floor. Despite it all, Jean never rid himself of Robert,

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Speaker 1: and until his death in nineteen seventy four, he would

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Speaker 1: often visit him in his attic room, even staying up

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Speaker 1: there to paint with him from time to time. When

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Speaker 1: Jean died, Anne quickly left the so called artist's house

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Speaker 1: and moved back to France and then Connecticut, where she

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Speaker 1: died in nineteen seventy nine. She did not take Robert

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Speaker 1: with her. After that, the aspirational former home of the

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Speaker 1: Ottos remained empty for a few years before it and

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Speaker 1: Robert were bought by a woman named Myrtle Reuters, who

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Speaker 1: rented it out to tenants. But according to local word,

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Speaker 1: Robert did not go quietly into the night after Jeanne's death.

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Speaker 1: One afternoon, a plumber working in the same room as

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Speaker 1: Robert claimed he heard giggling and turned to find the

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Speaker 1: doll had suddenly moved to the complete other side of

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Speaker 1: the room. Tenants regularly claimed to hear what they took

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Speaker 1: to be the sound of tiny, frustrated footsteps pounding down

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Speaker 1: from the attic. If anything, Robert's abandonment and as some

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Speaker 1: might say, his grief, seemed to have made him more malicious.

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Speaker 1: In nineteen seventy nine, Malcolm Ross, a reporter from Florida's

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Speaker 1: Lara's Hill newspaper, visited the artist's house to investigate all

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Speaker 1: the peculiar rumors. Accompanied by a friend, Ross ventured up

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Speaker 1: to the attic room at the top of the property

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Speaker 1: to pay Robert a visit, where he reported being riveted

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Speaker 1: by the doll's black marble eyes when we walked through

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Speaker 1: the door. Ross later wrote the look on Robert's face

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Speaker 1: was like a little boy being punished. It was as

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Speaker 1: if he was asking himself, who were these people in

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Speaker 1: my room? And what are they going to do to me?

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Speaker 1: Ross's friend then pointed to the well furnished room and

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Speaker 1: mocked what he saw as Jeane Otto's childish pandering to

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Speaker 1: the doll. Just then, the journalist looked back at Robert,

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Speaker 1: whose face, it seemed to him, had changed to exhibit

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Speaker 1: a very clear sense of disgust. There was some kind

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Speaker 1: of intelligence there. Ross wrote that doll was listening to us.

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Speaker 1: When Myrtle Reuter's moved out of the artist's house in

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Speaker 1: nineteen eighty, she took Robert with her. In nineteen ninety, four,

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Speaker 1: months before her death, she donated him to the local

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Speaker 1: Fort East Martello Museum known as the Fort for Robert.

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Speaker 1: This is a certain kind of homecoming, as it was

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Speaker 1: Jeane Otto who designed the museum's art gallery shortly after

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Speaker 1: his return to Key West. Many of his oil paintings

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Speaker 1: still hang there. But rather than calming the story surrounding Robert,

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Speaker 1: the move prompted a whole new evolution in his legend.

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Speaker 1: At first, the museum didn't put Robert on display, but

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Speaker 1: soon word got around about what they had, and after

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Speaker 1: frequent requests to see him, it was agreed that he

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Speaker 1: would be placed in a glass case for public viewings.

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Speaker 1: It's there now, on a miniature stool, his sailor outfit

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Speaker 1: now slightly yellowed, and his trusty Teddy Bear still in

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Speaker 1: the crook of his arm. Behind him. Written in chalk

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Speaker 1: on a blackboard are three simple rules. Anyone visiting Robert

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Speaker 1: must first greet and introduce themselves. They must never take

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Speaker 1: photographs of him without first asking permission, and before leaving,

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Speaker 1: they must say a form more goodbye. The rules are

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Speaker 1: enforced as best they can be by the museum staff.

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Speaker 1: Not for them, they say, but for the safety of

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Speaker 1: the museum's guests. To ignore or break them, some say,

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Speaker 1: risks what has come to be known as the Curse

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Speaker 1: of Robert, the doll misfortune that can follow the discourteous

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Speaker 1: guest home, no matter how far away that may be.

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Speaker 1: At first hearing, it sounds like a great marketing ploy,

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Speaker 1: the kind of story attached to macabre displays throughout history

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Speaker 1: as a way of selling tickets. But the museum also

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Speaker 1: displays the letters they've received from visitors over the past

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Speaker 1: three decades. Dozens are pinned to the wall of Robert's display.

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Speaker 1: Hundreds more are stored electronically, almost all of them offering

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Speaker 1: apologies and beg Robert for his forgiveness for their indiscretions.

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Speaker 1: One signed only with the name Lori Anne, relates how

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Speaker 1: the writer flouted the rules and tried to take photographs

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Speaker 1: of Robert without his permission. Each time she tried, a

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Speaker 1: brand new camera failed to capture the image, But when

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Speaker 1: Lori Anne turned to test the camera on the display

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Speaker 1: case opposite Robert, it apparently worked without a hitch. Only

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Speaker 1: when she got home, Lori Anne uploaded the photos and

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Speaker 1: saw that Robert's reflection was captured in the glass. From there,

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Speaker 1: lor Anne writes, it all went wrong. Her computer was

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Speaker 1: immediately infected with a devastating virus. She was hurt at

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Speaker 1: work and lost her job. Then she lost her new

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Speaker 1: truck and finally her home. The letter ends, I didn't

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Speaker 1: believe it before, but now I do. I apologize if

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Speaker 1: I upset you. Staff at the Fort Museum are equally

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Speaker 1: respectful and wary of Robert. There are still reports of

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Speaker 1: giggles emanating from empty rooms, and how Robert can sometimes

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Speaker 1: be found in different positions inside his glass case, without

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Speaker 1: the alarm ever being triggered. Goodelia Estevez, who worked as

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Speaker 1: a docent at the museum in the early two thousands,

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Speaker 1: told a PBS reporter how every morning she would open

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Speaker 1: the museum and make her presence known, as if she

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Speaker 1: were dealing with a potentially dangerous animal. However, Estevez said

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Speaker 1: that the atmosphere in the fort was at its strangest

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Speaker 1: and most chaotic when Robert was moved elsewhere. Every October

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Speaker 1: he would be temporarily relocated to the Key West Museum

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Speaker 1: of Art and History at the Customs House, and in

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Speaker 1: his absence things would escalate. The museum's cat would howl incessantly.

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Speaker 1: Staff reported physical pushes from assailants they couldn't see. Some years,

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Speaker 1: Robert had to be recalled early to settle things down.

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Speaker 1: It was as if he were happier there, Estevez said,

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Speaker 1: And he may be able to make some bittersweet sense

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Speaker 1: of that. Some morning, she says, she would open up

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Speaker 1: the museum and find an empty wooden chair in front

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Speaker 1: of Robert's case, as if someone had come to visit

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Speaker 1: His old friend. Jean Otto never quite matched the fame

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Speaker 1: of whistler or sergeant. Search his name now, and any

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Speaker 1: mention of his art is buried between a hundred references

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Speaker 1: to his infamous door. But Jean did have some remarkable success.

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Speaker 1: He returned from europe An artist already worthy of note,

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Speaker 1: and cemented his regional reputation as someone who could find

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Speaker 1: the essence of the Florida Keys in oil and canvas.

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Speaker 1: To possess one of his landscapes, said one nineteen fifty

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Speaker 1: four review, is to have an ever more beloved window

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Speaker 1: into mystical light flooded Key West. Jean was not just

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Speaker 1: a painter of landscapes, though, once he moved back to Florida,

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Speaker 1: he increasingly turned his hand to the art of still

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Speaker 1: life paintings. In December nineteen fifty three, the Key West

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Speaker 1: Tribune ran a feature on gene noting the ringing brilliance

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Speaker 1: of his depictions of porcelain and metal objects and the

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Speaker 1: highlighted realism of his fruits, fabric and flowers. Gene Otto,

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Speaker 1: the critic asserts, is not limited by narrowness of concept.

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Speaker 1: He finds loveliness and inspiration in the familiar and commonplace,

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Speaker 1: but translates it through his genius into a supreme experience.

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Speaker 1: Yet for all of that's skill and encompassing inspiration, there

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Speaker 1: is one thing that Gene never seems to have painted Robert.

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Speaker 1: Despite all the years they spent together, with Gene often

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Speaker 1: painting in the very attic room that he had fitted

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Speaker 1: out for his doll, not once did he take Robert

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Speaker 1: as his subject. Now that Gene is gone, no one

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Speaker 1: will ever know. Why was it the strange expression that

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Speaker 1: eluded him, the inscrutable, uncanny valley of the doll's face,

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Speaker 1: so reminiscent of but so far from human? Or was

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Speaker 1: it simply because Robert had never allowed it? This episode

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Speaker 1: was written by Neil McRobert and produced by me Richard

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Speaker 1: mclin Smith. Neil is the creator and host of his

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00:30:48,200 --> 00:30:53,000
Speaker 1: own brilliant podcast called Talking Scared, in which he discusses

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00:30:53,080 --> 00:30:56,920
Speaker 1: the craft of horror, writing with everyone from Tennanerieve Do

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Speaker 1: to the God of horror himself, Stephen King. I can't

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Speaker 1: recommend it highly enough. Unexplained as an AV Club Productions

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00:31:06,040 --> 00:31:10,600
Speaker 1: podcast created by Richard McClain Smith. All other elements of

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Speaker 1: the podcast, including the music, are also produced by me.

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Speaker 1: Richard McClain Smith. Unexplained The book and audiobook is now

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Speaker 1: available to buy worldwide. You can purchase from Amazon, Barnes

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Speaker 1: and Noble, Waterstones, and other bookstores. Please subscribe to and

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Speaker 1: rate the show wherever you get your podcasts, and feel

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00:31:31,560 --> 00:31:34,120
Speaker 1: free to get in touch with any thoughts or ideas

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Speaker 1: regarding the stories you've heard on the show. Perhaps you

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Speaker 1: have an explanation of your own you'd like to share.

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Speaker 1: You can find out more at Unexplained podcast dot com

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Speaker 1: and reach us online through Twitter at Unexplained Pod and

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Speaker 1: Facebook at Facebook dot com. Forward Slash Unexplained Podcast