1 00:00:01,720 --> 00:00:13,080 Speaker 1: Cool Zone Media book Club, The Club, the Club, the Club. Hello, 2 00:00:13,520 --> 00:00:15,960 Speaker 1: and welcome to School Zone Media book Club, the only 3 00:00:16,000 --> 00:00:17,760 Speaker 1: book club where you don't have to do the reading 4 00:00:17,840 --> 00:00:20,840 Speaker 1: because I do it for you. I'm your host, Margaret Kiljoy. 5 00:00:21,160 --> 00:00:26,239 Speaker 1: And it's spooky Month, or as you might say, spooky month, 6 00:00:26,280 --> 00:00:30,760 Speaker 1: but you extend out the oh's a lot like spooooooky, 7 00:00:31,000 --> 00:00:33,520 Speaker 1: but then it just sounds like I'm saying cookie crisp, 8 00:00:33,760 --> 00:00:38,400 Speaker 1: which I'm not. But it's still spooky month. And so 9 00:00:38,479 --> 00:00:41,080 Speaker 1: we're doing horror, which is a word that I'm going 10 00:00:41,120 --> 00:00:44,560 Speaker 1: to pronounce that way until I die. And this week 11 00:00:45,159 --> 00:00:48,600 Speaker 1: I am reading a short story by Hailey Piper called 12 00:00:49,200 --> 00:00:54,640 Speaker 1: Hollywood were Wolf Conspiracy. It's a short story about well, 13 00:00:55,320 --> 00:00:58,520 Speaker 1: there's were wolves in it. You probably figured that part out, 14 00:00:58,800 --> 00:01:03,120 Speaker 1: and there's polyamory their cycles of trauma. But by and 15 00:01:03,240 --> 00:01:07,039 Speaker 1: large it's a story about story, but not an annoying way. 16 00:01:07,319 --> 00:01:10,440 Speaker 1: It's about tropes and genre convention because it's from a 17 00:01:10,600 --> 00:01:14,480 Speaker 1: twenty twenty two collection called It Was All a Dream, 18 00:01:14,959 --> 00:01:18,120 Speaker 1: An Anthology of Bad Horror Tropes Done Right, which was 19 00:01:18,319 --> 00:01:22,880 Speaker 1: edited by Brandon Applegate, and it's a short story collection 20 00:01:23,080 --> 00:01:25,200 Speaker 1: that has a bunch of good stories in it that 21 00:01:25,240 --> 00:01:28,680 Speaker 1: are just like, well, they kind of do what they 22 00:01:28,680 --> 00:01:30,720 Speaker 1: say on the cover. It's an anthology of bad horror 23 00:01:30,760 --> 00:01:33,320 Speaker 1: tropes done right, and so they just like are consciously 24 00:01:33,319 --> 00:01:38,520 Speaker 1: playing with tropes. And I don't know, I have I 25 00:01:38,560 --> 00:01:42,040 Speaker 1: have complicated feelings about tropes and writing too tropes and 26 00:01:42,080 --> 00:01:46,400 Speaker 1: subverting tropes and things like that in fiction, and I 27 00:01:46,400 --> 00:01:48,520 Speaker 1: think that this is a story that does it well. 28 00:01:48,560 --> 00:01:52,360 Speaker 1: And I like the conscious subversion of tropes, but I 29 00:01:52,400 --> 00:01:57,560 Speaker 1: also I sometimes get annoyed. Okay, this is like really 30 00:01:57,600 --> 00:01:59,120 Speaker 1: not about this story at all. I actually just like 31 00:01:59,160 --> 00:02:01,720 Speaker 1: really like the story. But in general, I was once 32 00:02:01,760 --> 00:02:04,840 Speaker 1: on this panel at this reading and they asked all 33 00:02:04,840 --> 00:02:07,280 Speaker 1: of the authors on the panel like what we liked 34 00:02:07,280 --> 00:02:09,840 Speaker 1: about tropes and writing to tropes and things like that, 35 00:02:09,919 --> 00:02:11,799 Speaker 1: and everyone was like, oh, you know, tropes are these 36 00:02:11,840 --> 00:02:15,520 Speaker 1: like interesting tools and storytelling techniques, and you know, they 37 00:02:15,560 --> 00:02:19,799 Speaker 1: help understand the reader's expectations and stuff. And I was 38 00:02:19,880 --> 00:02:21,359 Speaker 1: kind of the sole one who is like, I kind 39 00:02:21,360 --> 00:02:24,320 Speaker 1: of hate tropes. I kind of hate like over analyzing 40 00:02:24,360 --> 00:02:26,440 Speaker 1: whether or not I'm playing into tropes or not playing 41 00:02:26,480 --> 00:02:32,040 Speaker 1: into tropes. But that's because I am fundamentally oppositional, and 42 00:02:32,680 --> 00:02:35,120 Speaker 1: when you're gonna do it. You should do it like 43 00:02:35,160 --> 00:02:47,960 Speaker 1: this Hollywood Werewolf Conspiracy by Haley Piper. Selina sits crammed 44 00:02:48,000 --> 00:02:51,640 Speaker 1: into the cabin's bedroom corner, a hammer in one hand 45 00:02:51,760 --> 00:02:55,919 Speaker 1: and her inherited silver amulet in the other. She flattens 46 00:02:55,919 --> 00:02:59,399 Speaker 1: the amulet down and bangs it with a hammer, desperate 47 00:02:59,520 --> 00:03:03,919 Speaker 1: to pound murder into its shape. The cabin's dusty floor 48 00:03:04,000 --> 00:03:08,240 Speaker 1: makes a poor blacksmith's sanvill and her grandmother's heirloom makes 49 00:03:08,240 --> 00:03:11,920 Speaker 1: a poor bullet. But together they might become a weapon 50 00:03:11,960 --> 00:03:15,880 Speaker 1: of a sort, And maybe then Tonight's horror show wo 51 00:03:15,960 --> 00:03:21,480 Speaker 1: finally end. Silver is silver, Selena whispers, through sweat and panic. 52 00:03:22,000 --> 00:03:26,560 Speaker 1: The hammer strikes again. Has to work. Silver is silver. 53 00:03:28,400 --> 00:03:33,119 Speaker 1: All this whispering and striking might draw unwanted attention were 54 00:03:33,160 --> 00:03:36,480 Speaker 1: it not for the storm of growling and screaming in 55 00:03:36,560 --> 00:03:40,600 Speaker 1: the cabin's living room. Selena keeps at it. If she's 56 00:03:40,640 --> 00:03:44,240 Speaker 1: not ready for Frankie when he finishes with Marvin, there'll 57 00:03:44,280 --> 00:03:47,400 Speaker 1: be no hiding her sour scent from what he's become. 58 00:03:48,640 --> 00:03:52,320 Speaker 1: Silver is silver. The omulet dnse with enough of a 59 00:03:52,360 --> 00:03:55,640 Speaker 1: slant to make a kind of silver shive, and that 60 00:03:55,720 --> 00:03:58,960 Speaker 1: should be enough to drive it through werewolf flesh, it 61 00:03:59,000 --> 00:04:03,800 Speaker 1: has to be. Selina creeps toward the bedroom door and 62 00:04:03,840 --> 00:04:08,200 Speaker 1: glimpses a blood bathed living room, smashed furniture, litters, the 63 00:04:08,240 --> 00:04:12,880 Speaker 1: floor decorated by purple innerds. Their shadows dance away from 64 00:04:12,920 --> 00:04:17,680 Speaker 1: the fireplace. Beside the top oled sofa lies a carved 65 00:04:17,760 --> 00:04:21,640 Speaker 1: idol of teeth and wood, the one Frankie pulled from 66 00:04:21,640 --> 00:04:25,919 Speaker 1: an old oak's hollow this afternoon. Some trapper or woodland 67 00:04:25,920 --> 00:04:28,800 Speaker 1: witch must have set it there a century or so ago, 68 00:04:29,480 --> 00:04:32,760 Speaker 1: But there's no book to explain the rest, only the 69 00:04:32,839 --> 00:04:37,239 Speaker 1: senses upon seeing what came next. Once upon a time, 70 00:04:37,960 --> 00:04:41,440 Speaker 1: Frankie was a clean shaven guy of skin and bones. 71 00:04:42,120 --> 00:04:46,760 Speaker 1: But now he's a thunder cloud of shaggy hair, wicked claws, 72 00:04:46,839 --> 00:04:51,479 Speaker 1: and gleaming teeth. He clutches Marvin's torso between wolf and 73 00:04:51,600 --> 00:04:55,280 Speaker 1: jaws and shakes him limp, no different than a hound 74 00:04:55,400 --> 00:04:59,719 Speaker 1: might shake a rabbit bonneless, except a hound could never 75 00:04:59,800 --> 00:05:02,479 Speaker 1: have been one of the three boyfriends. Selena drew to 76 00:05:02,520 --> 00:05:06,960 Speaker 1: the cabin. They were hers and each other's here for 77 00:05:07,040 --> 00:05:11,040 Speaker 1: a precious weekend of polyamorous hiking and cozying up by 78 00:05:11,080 --> 00:05:14,120 Speaker 1: the fire and fucking the life out of each other. 79 00:05:14,400 --> 00:05:17,760 Speaker 1: As Ted put it, he couldn't have known he'd be 80 00:05:17,800 --> 00:05:23,040 Speaker 1: the first to die. Frankie thrashes his head to one side, 81 00:05:23,720 --> 00:05:27,440 Speaker 1: muscles go taut down his lupine neck, and his teeth 82 00:05:27,600 --> 00:05:33,000 Speaker 1: unlatched from a still human torso. Marvin's body smashes through 83 00:05:33,000 --> 00:05:37,279 Speaker 1: the picture window and into the moon soaked outdoors. The 84 00:05:37,320 --> 00:05:41,159 Speaker 1: woods are strangely quiet, as if every creature that crawls, 85 00:05:41,279 --> 00:05:44,360 Speaker 1: walks and climbs can tell the wolf is awake. Tonight, 86 00:05:45,279 --> 00:05:47,960 Speaker 1: they're stuck with Selena and the kind of movie Ted 87 00:05:48,120 --> 00:05:51,799 Speaker 1: might have dragged her to back in Civilization, one she'd 88 00:05:51,800 --> 00:05:54,719 Speaker 1: love to walk out on, Except the tickets are purchased, 89 00:05:54,960 --> 00:05:58,440 Speaker 1: the popcorn is buttered, and Hollywood's already trapped her in 90 00:05:58,480 --> 00:06:01,479 Speaker 1: the dark. She'll have to see the horror show through 91 00:06:01,720 --> 00:06:07,840 Speaker 1: to the end. She charges into the living room while 92 00:06:07,839 --> 00:06:11,159 Speaker 1: Wolf Frankie's back is turned. Had she known what the 93 00:06:11,200 --> 00:06:14,719 Speaker 1: sudden shaggy patch on his arm meant earlier in the evening, 94 00:06:15,360 --> 00:06:19,240 Speaker 1: she might have fled with Ted and Marvin then, But 95 00:06:19,320 --> 00:06:23,320 Speaker 1: it's too late for them, and it's too late for Frankie. 96 00:06:24,000 --> 00:06:28,200 Speaker 1: His sharp ear twitches at the pounding footsteps and murder 97 00:06:28,320 --> 00:06:32,360 Speaker 1: crosses his wolfish eyes. A better prepared where Wolf would 98 00:06:32,360 --> 00:06:36,200 Speaker 1: have launched himself off the toppled sofa and torn Selina's 99 00:06:36,279 --> 00:06:40,640 Speaker 1: head clear off her shoulders in a crimson geyser, but 100 00:06:40,720 --> 00:06:44,840 Speaker 1: he isn't prepared, and Selena launches herself first, and her 101 00:06:44,920 --> 00:06:48,320 Speaker 1: omulet turn shive drives into the back of his neck 102 00:06:49,920 --> 00:06:54,599 Speaker 1: thanks b to her grandmother, Wolf Frankie deflates with a 103 00:06:54,680 --> 00:06:59,839 Speaker 1: thinning whine. His limbs thrash and slop, his snout flattens 104 00:06:59,839 --> 00:07:03,280 Speaker 1: it against his face, and his shaggy hair writhes in 105 00:07:03,360 --> 00:07:07,760 Speaker 1: a dying colony of wolf in worms. A warm breath 106 00:07:07,839 --> 00:07:11,680 Speaker 1: seeps from his shrinking form, and the silver shive clatters 107 00:07:11,720 --> 00:07:17,880 Speaker 1: beside him, blade caked in dark blood. It's over. Frankie 108 00:07:18,000 --> 00:07:23,880 Speaker 1: is himself, and yet he'll never be himself again. He's 109 00:07:23,920 --> 00:07:28,880 Speaker 1: instead gone from wolf Frankie to corpse Frankie, and sure, 110 00:07:29,040 --> 00:07:33,120 Speaker 1: as Ted and Marvin are gone, so is he. No 111 00:07:33,280 --> 00:07:37,320 Speaker 1: more of his once ceaseless curiosity what started this trouble 112 00:07:37,320 --> 00:07:40,960 Speaker 1: in the first place. No more of Ted's crude jokes 113 00:07:41,040 --> 00:07:44,560 Speaker 1: despite his being so shy in the bedroom. No more 114 00:07:44,640 --> 00:07:48,800 Speaker 1: of Marvin's sweet songs when they all piled together. They 115 00:07:48,840 --> 00:07:52,760 Speaker 1: had this final evening curled up by the fireplace, and 116 00:07:52,800 --> 00:07:58,160 Speaker 1: then hell found them. Selina wipes frantic hands down her face. 117 00:07:59,040 --> 00:08:01,280 Speaker 1: Too many tears and she won't be able to drive 118 00:08:01,360 --> 00:08:04,240 Speaker 1: Ted's truck out of here. And she needs to put 119 00:08:04,320 --> 00:08:08,720 Speaker 1: miles between herself and this cabin, these bodies, these woods. 120 00:08:09,560 --> 00:08:12,720 Speaker 1: She crosses the living room and grasps the front doorknob. 121 00:08:13,840 --> 00:08:17,960 Speaker 1: A thick gurgle fills the room, like wolf's breath bubbling 122 00:08:18,040 --> 00:08:22,280 Speaker 1: up a dead throat. Selina twists too fast on her heel, 123 00:08:22,640 --> 00:08:26,840 Speaker 1: shooting a painful tremor across one knee, and glances at Frankie. 124 00:08:27,400 --> 00:08:31,440 Speaker 1: Her silver shive lies gleaming and the fireplace's flicker. She 125 00:08:31,480 --> 00:08:34,640 Speaker 1: snatches it up and aims at the corpse, which will 126 00:08:34,679 --> 00:08:40,400 Speaker 1: surely pounce at any moment. Frankie's face remains still, no 127 00:08:40,559 --> 00:08:45,680 Speaker 1: animal hair, no claws, no stretching skull, drags his nose 128 00:08:45,720 --> 00:08:50,120 Speaker 1: and mouth into a fresh snout. He's dead. It's over, 129 00:08:51,720 --> 00:08:56,400 Speaker 1: or is it? Selena eyes her shive. She stabbed a 130 00:08:56,400 --> 00:09:00,400 Speaker 1: werewolf with silver. That should be enough. Hollywood's faster the 131 00:09:00,440 --> 00:09:02,960 Speaker 1: popular belief that only a silver bullet can kill a 132 00:09:02,960 --> 00:09:05,880 Speaker 1: werewolf but people must have been killing the damn thing 133 00:09:06,000 --> 00:09:10,920 Speaker 1: since before bullets were invented. Right, silver is silver, Selena whispers, 134 00:09:11,520 --> 00:09:14,120 Speaker 1: But if silver kills a werewolf, is that enough to 135 00:09:14,559 --> 00:09:17,920 Speaker 1: keep it dead? She's only watched a handful of werewolf 136 00:09:17,960 --> 00:09:22,400 Speaker 1: movies and zero sequels, but since when good movies help anyone? 137 00:09:23,960 --> 00:09:28,040 Speaker 1: Best to be sure, She crouches down and jabs the 138 00:09:28,080 --> 00:09:33,120 Speaker 1: shive into Frankie's side. Every part of her tenses for 139 00:09:33,200 --> 00:09:37,079 Speaker 1: his reaction. The sudden end of movie scare just before 140 00:09:37,120 --> 00:09:40,240 Speaker 1: the credit slam at the screen like a speeding car 141 00:09:40,559 --> 00:09:45,319 Speaker 1: full of suicidal crash test dummies. But Frankie doesn't flinch 142 00:09:45,360 --> 00:09:49,360 Speaker 1: when Selena twists the shive, or when she sticks his chest, 143 00:09:49,920 --> 00:09:52,960 Speaker 1: or when she jacks the shive across his neck in 144 00:09:53,040 --> 00:09:58,280 Speaker 1: a makeshift zipper line. He's dead for certain. She leaves 145 00:09:58,360 --> 00:10:02,640 Speaker 1: him again, shive in one and both wrists, blocking her ears. 146 00:10:03,440 --> 00:10:06,640 Speaker 1: She won't hear a sound until the cabin's front door thwacks, 147 00:10:06,679 --> 00:10:12,040 Speaker 1: its doorframe, bounces out and settles again behind her. But 148 00:10:12,120 --> 00:10:15,120 Speaker 1: do you know what sound you will hear again and 149 00:10:15,160 --> 00:10:19,000 Speaker 1: again and again and again and again unless you have 150 00:10:19,040 --> 00:10:23,280 Speaker 1: cooler zone media or you hit the forward fifteen second button, 151 00:10:23,320 --> 00:10:40,199 Speaker 1: I guess, and we're back. The night rushes in as 152 00:10:40,240 --> 00:10:43,360 Speaker 1: she crosses the porch, where a moonlit puddle might be 153 00:10:43,400 --> 00:10:46,840 Speaker 1: the beginning of Ted's blood trail to the shed. Its 154 00:10:46,960 --> 00:10:51,080 Speaker 1: edge is skewed by Frankie's paul prints beneath the picture 155 00:10:51,160 --> 00:10:56,559 Speaker 1: window glass glitters across a dark pile, Marvin lying and 156 00:10:56,679 --> 00:11:01,480 Speaker 1: mid fallen leaves. Selina listens for woodland creatures to bring 157 00:11:01,520 --> 00:11:05,520 Speaker 1: their comforting nocturnal chorus to the scene of skittering mice 158 00:11:05,600 --> 00:11:10,320 Speaker 1: through ferns and insects calling through the trees. An owl 159 00:11:10,600 --> 00:11:14,240 Speaker 1: warbles out an uncertain hoot, and a fox cries in 160 00:11:14,280 --> 00:11:19,000 Speaker 1: the underbrush. The prey are quiet, while the predators sing 161 00:11:19,040 --> 00:11:24,920 Speaker 1: of their moment. Selina hurries to Ted's truck and slides inside. 162 00:11:24,960 --> 00:11:27,400 Speaker 1: Back in the land of movies, this is when she 163 00:11:27,480 --> 00:11:30,200 Speaker 1: finds no keys and realizes Ted must have kept them 164 00:11:30,200 --> 00:11:33,000 Speaker 1: in his pocket, despite her telling him there's nobody in 165 00:11:33,040 --> 00:11:35,880 Speaker 1: the woods to steal his damn truck. She'll have to 166 00:11:35,880 --> 00:11:38,920 Speaker 1: follow his blood trail to the shed, and that's when 167 00:11:39,000 --> 00:11:43,080 Speaker 1: wolf Frankie, alive again, will crash through the door. Thought 168 00:11:43,120 --> 00:11:47,640 Speaker 1: it was over, didn't she? Except the keys sit in 169 00:11:47,640 --> 00:11:50,600 Speaker 1: the cup holder between the front seats, write where she 170 00:11:50,679 --> 00:11:54,360 Speaker 1: told Ted to put them This afternoon, she snatches them 171 00:11:54,440 --> 00:11:58,120 Speaker 1: up and sits behind the wheel. Time to kiss, key 172 00:11:58,200 --> 00:12:01,440 Speaker 1: to ignition, let the end and growl through the woods 173 00:12:01,800 --> 00:12:05,600 Speaker 1: and get the hell back to civilization. It really is 174 00:12:05,760 --> 00:12:12,240 Speaker 1: over now, or is it? That wolfish gurgling rises again? 175 00:12:13,760 --> 00:12:17,800 Speaker 1: Selena flinches against the steering wheel and the truck shouts 176 00:12:17,800 --> 00:12:21,200 Speaker 1: out a honk. How could Frankie have snuck into the 177 00:12:21,240 --> 00:12:25,600 Speaker 1: car with her? Can were wolves teleport? She's never heard 178 00:12:25,640 --> 00:12:29,240 Speaker 1: of a movie where it happens, But again, movies never 179 00:12:29,320 --> 00:12:34,559 Speaker 1: help anyone. There might be a Hollywood werewolf conspiracy, a 180 00:12:34,600 --> 00:12:38,280 Speaker 1: bunch of werewolf actors and werewolf technicians at the beck 181 00:12:38,320 --> 00:12:42,600 Speaker 1: and call of werewolf directors and werewolf producers using their 182 00:12:42,760 --> 00:12:46,000 Speaker 1: art to deceive the public on what this breed of 183 00:12:46,120 --> 00:12:52,760 Speaker 1: undead can really do. Or Selena might be paranoid. When 184 00:12:52,760 --> 00:12:56,080 Speaker 1: she glances over her seat, she finds no torn claws, 185 00:12:56,480 --> 00:13:00,880 Speaker 1: loose teeth, not even a tuft of shaggy hair, only 186 00:13:00,920 --> 00:13:05,679 Speaker 1: the expected plastic water bottle and half devoured bag of chips. 187 00:13:06,240 --> 00:13:08,760 Speaker 1: She can drive away and be done with all of this, 188 00:13:10,440 --> 00:13:13,880 Speaker 1: but the nightmare isn't done with her. Is it? What 189 00:13:14,000 --> 00:13:18,640 Speaker 1: if Frankie's still alive? She leaves the truck and creeps 190 00:13:18,679 --> 00:13:21,800 Speaker 1: back into the cabin where Frankie used to lie, where 191 00:13:21,840 --> 00:13:24,880 Speaker 1: she won't find him. There will be blood and hair, 192 00:13:25,160 --> 00:13:28,719 Speaker 1: but no dead boyfriend, Ted and Marvin aside, and when 193 00:13:28,760 --> 00:13:32,280 Speaker 1: she turns around, she'll find wolf as filled her world. 194 00:13:33,520 --> 00:13:36,679 Speaker 1: Except none of this happens. Frankie lies in a pool 195 00:13:36,679 --> 00:13:40,280 Speaker 1: of blood, some mix of his and Marvin's. It's over. 196 00:13:41,200 --> 00:13:47,400 Speaker 1: It really is, isn't it. Selina needs to be sure. 197 00:13:48,200 --> 00:13:51,679 Speaker 1: She marches outside, tries her best not to glance at 198 00:13:51,720 --> 00:13:56,800 Speaker 1: Marvin's glass littered body, Ted's blood trail shining with moonlight, 199 00:13:57,400 --> 00:14:00,960 Speaker 1: failing at both, and hauls up the wood cutting axe 200 00:14:00,960 --> 00:14:04,319 Speaker 1: from the stump by the porch. Isn't this in line 201 00:14:04,360 --> 00:14:09,080 Speaker 1: with the old ways? Wood cutter versus wolf, axe against beast. 202 00:14:09,840 --> 00:14:13,320 Speaker 1: She can't trust any Hollywood movie, but fairy tales have 203 00:14:13,400 --> 00:14:17,040 Speaker 1: been told across eons to caution everyone who hears them. 204 00:14:17,440 --> 00:14:21,400 Speaker 1: A fairy tale won't lead her astray. It instead leads 205 00:14:21,400 --> 00:14:24,680 Speaker 1: her back to the living room. Or She raises the axe, 206 00:14:25,080 --> 00:14:29,360 Speaker 1: lowers it by inches, raises it again, then squeezes her 207 00:14:29,400 --> 00:14:35,000 Speaker 1: eyes shut and heaves it down flesh snaps and bones 208 00:14:35,080 --> 00:14:40,440 Speaker 1: crack and corpse. Frankie loses an arm, no sign of 209 00:14:40,480 --> 00:14:44,120 Speaker 1: wolf in him, but she can't stop yet. Three limbs 210 00:14:44,120 --> 00:14:56,560 Speaker 1: and a head to go. The work is exhausting. Rise, chop, sweat, chop, cry, scream, cry, vomit, chop, 211 00:14:57,240 --> 00:15:00,520 Speaker 1: and so on. A clock waves its hea hands in 212 00:15:00,680 --> 00:15:04,840 Speaker 1: slow circles, begging for her attention, but it can't tell 213 00:15:04,840 --> 00:15:09,040 Speaker 1: her anything she doesn't already know. Time is another predator 214 00:15:09,080 --> 00:15:12,280 Speaker 1: in the night, the only one guaranteed to catch its 215 00:15:12,320 --> 00:15:17,200 Speaker 1: prey in the end. She should have escaped by now. 216 00:15:17,760 --> 00:15:22,120 Speaker 1: She will escape right. It's over and she should go 217 00:15:22,800 --> 00:15:26,160 Speaker 1: if there's anywhere left to run to. She's been coming 218 00:15:26,200 --> 00:15:28,800 Speaker 1: and going from this gore soaked living room for as 219 00:15:28,920 --> 00:15:33,000 Speaker 1: much time as passed earlier in this Nightmare, between Frankie 220 00:15:33,040 --> 00:15:37,040 Speaker 1: finding the tooth and wood idol and his moonlit transformation. 221 00:15:38,080 --> 00:15:40,960 Speaker 1: In those hours, the rest of the universe might have 222 00:15:41,080 --> 00:15:45,200 Speaker 1: collapsed into a black hole, and the only surviving bits 223 00:15:45,280 --> 00:15:48,600 Speaker 1: of matter and life are right here at this cabin 224 00:15:49,160 --> 00:15:53,720 Speaker 1: in these woods. One last movie in the world filled 225 00:15:53,720 --> 00:15:58,240 Speaker 1: with were wolves. But maybe Selena doesn't have to wait 226 00:15:58,280 --> 00:16:02,200 Speaker 1: for some pre credit stinger. Maybe whether the horror is 227 00:16:02,320 --> 00:16:05,400 Speaker 1: over or not has nothing to do with letting fate 228 00:16:05,600 --> 00:16:09,560 Speaker 1: crash to its final conclusion. Maybe it has everything to 229 00:16:09,600 --> 00:16:12,600 Speaker 1: do with choosing the best time to walk out of 230 00:16:12,640 --> 00:16:17,320 Speaker 1: the theater. Selena returns to the porch and her now 231 00:16:17,360 --> 00:16:21,080 Speaker 1: blistered hands drop the axe. Time to decide where the 232 00:16:21,160 --> 00:16:24,560 Speaker 1: lights go up? The sun will only rise if she 233 00:16:24,680 --> 00:16:31,640 Speaker 1: leaves this place. A gurgling wolf cough drags her stomping 234 00:16:31,720 --> 00:16:36,280 Speaker 1: back into the cabin. What now, she shrieks, What the 235 00:16:36,320 --> 00:16:39,320 Speaker 1: hell do you want? What will it take to make 236 00:16:39,400 --> 00:16:42,720 Speaker 1: you stop? I'm sorry I couldn't save you, I really am, 237 00:16:43,040 --> 00:16:47,920 Speaker 1: But I can't change it now. I can't. Only the 238 00:16:47,960 --> 00:16:52,240 Speaker 1: soft crackle of the fireplace answers her. The wolf noises 239 00:16:52,560 --> 00:16:57,760 Speaker 1: must be her imagination, some post traumatic stress symptom? Can 240 00:16:57,800 --> 00:17:02,440 Speaker 1: it be post traumatic when the traumas progress mid trauma? Then, 241 00:17:02,720 --> 00:17:07,240 Speaker 1: but just as insiduous as PTSD? Wolf Frankie is dead, 242 00:17:07,880 --> 00:17:11,639 Speaker 1: But now his wolf stalks Selina's mind, where he'll grunt 243 00:17:11,800 --> 00:17:14,679 Speaker 1: and growl and howl to the end of her days. 244 00:17:15,880 --> 00:17:19,919 Speaker 1: She reaches his chopped up body a visual promise that 245 00:17:20,000 --> 00:17:23,640 Speaker 1: he's dead. She'll let her hands play in the strewn 246 00:17:23,760 --> 00:17:26,720 Speaker 1: tendons and scrape the chopped bone. If that's what it 247 00:17:26,840 --> 00:17:33,280 Speaker 1: takes anything to make her mind understand, it's over. But 248 00:17:33,320 --> 00:17:36,960 Speaker 1: do you know what else will follow you around forever? Wait, 249 00:17:37,119 --> 00:17:39,200 Speaker 1: the ads don't follow you, they just follow me. Well, 250 00:17:39,920 --> 00:17:44,159 Speaker 1: I mean, the products and services are a cheerful companion 251 00:17:44,280 --> 00:17:59,960 Speaker 1: these days. But anyway, here they are, and we're back 252 00:18:03,520 --> 00:18:08,199 Speaker 1: because Frankie isn't chopped up anymore. Sticky puddles coat the 253 00:18:08,200 --> 00:18:11,160 Speaker 1: wood where Selena heaved the axe down on his limbs, 254 00:18:11,600 --> 00:18:15,920 Speaker 1: and axe driven grooves mar the floorboards, but there are 255 00:18:15,920 --> 00:18:21,359 Speaker 1: no loose tendons, muscles, bone. Frankie's torso is whole, his 256 00:18:21,520 --> 00:18:24,760 Speaker 1: head attached, as if striking him over and over with 257 00:18:24,800 --> 00:18:27,800 Speaker 1: the axe were as fictitious as a scene seen in 258 00:18:27,840 --> 00:18:32,680 Speaker 1: any movie. Sover Is Silver battles in Selena's mouth with 259 00:18:33,119 --> 00:18:35,960 Speaker 1: what the fuck? And all she can get out is 260 00:18:36,520 --> 00:18:41,840 Speaker 1: silver is fucked? Must a silver bullet really finish the job? 261 00:18:42,160 --> 00:18:45,520 Speaker 1: Nothing else will work? What did people do in olden 262 00:18:45,600 --> 00:18:48,919 Speaker 1: times when a werewolf came stalking their villages? Ask it 263 00:18:49,040 --> 00:18:53,719 Speaker 1: nicely to leave, sacrifice their children to sate its appetite, 264 00:18:54,280 --> 00:18:58,159 Speaker 1: or as modernity tainted myth and twisted folklore with new ideas, 265 00:18:58,560 --> 00:19:04,120 Speaker 1: with Hollywood's unhelp movies, erasing every ancient werewolf weakness, now 266 00:19:04,119 --> 00:19:07,400 Speaker 1: that everyone believes only a silver bullet can end the nightmare. 267 00:19:09,160 --> 00:19:13,080 Speaker 1: Selena doesn't have a silver bullet. She doesn't have a gun, 268 00:19:13,720 --> 00:19:17,240 Speaker 1: or a field guide to killing werewolves, or much hope. 269 00:19:18,200 --> 00:19:21,520 Speaker 1: But she believes Frankie's going to come back in all 270 00:19:21,600 --> 00:19:26,120 Speaker 1: his wolfish glory. She believes only she can stop him, 271 00:19:26,480 --> 00:19:29,639 Speaker 1: and she believes in spreading fire from the fireplace to 272 00:19:29,680 --> 00:19:32,400 Speaker 1: the curtains and furniture before she heads out the door. 273 00:19:33,240 --> 00:19:36,240 Speaker 1: She believes in burning this cabin to the fucking ground 274 00:19:36,560 --> 00:19:42,159 Speaker 1: with Frankie inside. The insistent blaze fills the smashed picture 275 00:19:42,240 --> 00:19:46,080 Speaker 1: window in front doorway. As she stumbles back to the truck, 276 00:19:47,040 --> 00:19:51,840 Speaker 1: red light brushes tender fingers through the trees a cautious twilight. 277 00:19:52,240 --> 00:19:56,480 Speaker 1: Wondering if the time has come for sunrise, Selena wants 278 00:19:56,520 --> 00:19:59,720 Speaker 1: to tell the world, yes, go ahead and let the 279 00:19:59,800 --> 00:20:05,760 Speaker 1: light eats up. At last, it's really over, or is it. 280 00:20:06,880 --> 00:20:10,919 Speaker 1: There's that wolfish gurgle again, and this time it breaks 281 00:20:10,960 --> 00:20:16,120 Speaker 1: into a howl. Serena drives her hands against her ears, 282 00:20:16,800 --> 00:20:21,120 Speaker 1: can't be hearing this, refuses it. The fire roars too 283 00:20:21,200 --> 00:20:24,320 Speaker 1: loud for her to block it out, and beyond its crackle, 284 00:20:24,920 --> 00:20:31,240 Speaker 1: she hears another howl. What if the problem isn't the 285 00:20:31,280 --> 00:20:35,399 Speaker 1: wolf or the silver Maybe the problem is her and 286 00:20:35,440 --> 00:20:39,880 Speaker 1: the trauma within, or the idol Frankie found, or whether 287 00:20:39,920 --> 00:20:43,119 Speaker 1: it infects people not by touch but by sitting in 288 00:20:43,160 --> 00:20:49,479 Speaker 1: their presence, biding its time against silver, axes and flame. 289 00:20:50,920 --> 00:20:55,560 Speaker 1: Her problem might even be math, she realizes, as firelight 290 00:20:55,840 --> 00:20:59,760 Speaker 1: and early morning luminescence reveal an absence and the fallen 291 00:20:59,840 --> 00:21:04,679 Speaker 1: leaves beneath the broken picture window. There's no dark lump 292 00:21:04,760 --> 00:21:10,720 Speaker 1: where Marvin should lie, only shattered glass. Selena throws herself 293 00:21:10,760 --> 00:21:14,160 Speaker 1: into Ted's truck and twists the key in the ignition. 294 00:21:14,920 --> 00:21:18,240 Speaker 1: Movie logic says, the engine won't start. Might even have 295 00:21:18,280 --> 00:21:23,440 Speaker 1: been savaged during Wolf Frankie's initial rampage. But movies are liars, 296 00:21:23,880 --> 00:21:26,719 Speaker 1: so who's to say. Who can ever really know if 297 00:21:26,760 --> 00:21:29,679 Speaker 1: the movie's over when you walk out of that dark room. 298 00:21:30,200 --> 00:21:33,680 Speaker 1: Maybe when the projectors shut down and the staff leaves, 299 00:21:34,359 --> 00:21:37,480 Speaker 1: the ghost of the movie keeps on plane itself, an 300 00:21:37,600 --> 00:21:43,600 Speaker 1: undead presence prowled by secret werewolves. The rear view mirror 301 00:21:43,840 --> 00:21:47,720 Speaker 1: spots the ongoing nightmare as Selena drives Ted's truck from 302 00:21:47,760 --> 00:21:52,879 Speaker 1: the cabin, where three werewolves pour from behind the inferno. 303 00:21:53,040 --> 00:21:58,399 Speaker 1: There's Frankie, his shaggy hair singed. There's Marvin, a dark 304 00:21:58,480 --> 00:22:02,920 Speaker 1: lump now flowing with muscle and claws. And between them 305 00:22:03,000 --> 00:22:08,160 Speaker 1: Skulk's head. No more crude jokes, only a cruel appetite 306 00:22:08,240 --> 00:22:12,960 Speaker 1: between his mishmash of sharp teeth, one claw clutches that 307 00:22:13,160 --> 00:22:18,320 Speaker 1: damn tooth and wood. Idol, he saved it from the fire, 308 00:22:18,920 --> 00:22:22,720 Speaker 1: his and Marvin's transformations, finishing out while they were dead 309 00:22:22,800 --> 00:22:28,639 Speaker 1: or undead or somewhere in between. That was never Frankie alone, 310 00:22:28,920 --> 00:22:33,159 Speaker 1: gurgling and howling, only a trio of werewolf still in 311 00:22:33,200 --> 00:22:37,560 Speaker 1: the works. And by Hollywood conspiracy or plain simple fact, 312 00:22:38,240 --> 00:22:41,400 Speaker 1: maybe only a silver bullet can really kill any of them. 313 00:22:42,040 --> 00:22:46,399 Speaker 1: The Idols made sure of it. They cling together and howl, 314 00:22:46,800 --> 00:22:50,680 Speaker 1: a polyamorous pack mourning a lost member. And then they 315 00:22:50,800 --> 00:22:54,840 Speaker 1: chase the truck to make their unit whole. Tongues flop 316 00:22:54,920 --> 00:22:59,439 Speaker 1: from jaws, and saliva flails and of faces and down necks. 317 00:23:00,200 --> 00:23:05,400 Speaker 1: They're almost an excited smattering of suburban neighborhood dogs chasing 318 00:23:05,440 --> 00:23:10,400 Speaker 1: a postal truck. Except this chase is for keeps. Selena 319 00:23:10,480 --> 00:23:14,200 Speaker 1: floors the gas and Ted's truck rushes up the dirt 320 00:23:14,280 --> 00:23:18,680 Speaker 1: road and through the woods. Dark branches scrape with toothy 321 00:23:18,760 --> 00:23:22,159 Speaker 1: sharpness at the windows the roof, as if a wind 322 00:23:22,240 --> 00:23:25,800 Speaker 1: full of wolves and circles the truck. But when Selina 323 00:23:25,880 --> 00:23:29,760 Speaker 1: glances to the rear view mirror again, only a cloud 324 00:23:29,840 --> 00:23:35,199 Speaker 1: of dust follows her tires, no claws or hair or 325 00:23:35,240 --> 00:23:41,119 Speaker 1: stretched out faces, no boyfriends turned wolves. They're still alive 326 00:23:41,280 --> 00:23:44,480 Speaker 1: back there, still wear wolves. But whether or not the 327 00:23:44,560 --> 00:23:48,440 Speaker 1: nightmare is over isn't about letting fate crash down on her. 328 00:23:49,040 --> 00:23:51,360 Speaker 1: She has to choose a time for the show to end, 329 00:23:52,000 --> 00:23:55,320 Speaker 1: a time to leave the theater and let the werewolves 330 00:23:55,359 --> 00:23:59,600 Speaker 1: play in their coils of ghost films. Only Selena can 331 00:23:59,640 --> 00:24:03,119 Speaker 1: decide if there should be a lingering question mark or 332 00:24:03,160 --> 00:24:07,919 Speaker 1: a bold and clear statement of the end. And she 333 00:24:08,119 --> 00:24:12,960 Speaker 1: has decided this is the finale. The road scrolling under 334 00:24:12,960 --> 00:24:17,040 Speaker 1: the truck's hood like a column of end credits. No 335 00:24:17,160 --> 00:24:21,359 Speaker 1: more horror show, no more nightmare. Even as she scratches 336 00:24:21,400 --> 00:24:25,280 Speaker 1: her arms where her fingernails snag on a strange new 337 00:24:25,400 --> 00:24:31,760 Speaker 1: clump shaggy hair, she promises herself, yes it is over, definitely, 338 00:24:32,119 --> 00:24:41,119 Speaker 1: forever entirely over. Or is it Denton Dun the end 339 00:24:41,119 --> 00:24:43,160 Speaker 1: of the story or is it the end of the story. 340 00:24:43,160 --> 00:24:45,800 Speaker 1: It is the end of the story as written, but 341 00:24:45,920 --> 00:24:49,919 Speaker 1: maybe the ghost of the story still lingers on. I 342 00:24:50,040 --> 00:24:52,320 Speaker 1: like a good short story that could mean so many 343 00:24:52,320 --> 00:24:54,520 Speaker 1: things depending on what you're feeling when you read it. 344 00:24:54,880 --> 00:24:57,360 Speaker 1: I mean, like, this isn't isn't a story about polyamory, right, 345 00:24:57,480 --> 00:25:00,400 Speaker 1: Like it happens to be that there's three boyfriends, right, 346 00:25:00,440 --> 00:25:02,320 Speaker 1: and they all fock each other a bunch. But that's 347 00:25:02,359 --> 00:25:05,840 Speaker 1: all before the story even starts. But also there's this 348 00:25:05,960 --> 00:25:09,600 Speaker 1: kind of like I don't know, like leaving boyfriends behind, 349 00:25:10,119 --> 00:25:12,800 Speaker 1: and like this sense that like these men who have 350 00:25:13,000 --> 00:25:15,800 Speaker 1: turned into monsters, which is a common but not always 351 00:25:15,920 --> 00:25:20,359 Speaker 1: experience of people who date men or anyone, anyone is 352 00:25:20,359 --> 00:25:24,440 Speaker 1: capable of being this way. You know, there's this like, oh, 353 00:25:24,480 --> 00:25:26,800 Speaker 1: trying to leave them behind in your rear view mirror, 354 00:25:26,880 --> 00:25:29,439 Speaker 1: but in a weird way, they're always coming after you. 355 00:25:29,960 --> 00:25:31,800 Speaker 1: I mean, I think, really it's a story about trauma 356 00:25:32,080 --> 00:25:35,760 Speaker 1: and never being able to leave it. But I also 357 00:25:35,960 --> 00:25:40,520 Speaker 1: like this stuff about how something has gone from folklore 358 00:25:40,840 --> 00:25:44,000 Speaker 1: to Hollywood, and so it's actually kind of in a 359 00:25:44,000 --> 00:25:47,399 Speaker 1: way talking about how something has gone from folklore to trope, 360 00:25:47,440 --> 00:25:50,240 Speaker 1: and kind of in some ways, folklore is tropes, right, 361 00:25:50,280 --> 00:25:53,080 Speaker 1: because folklore is often sort of the same story told 362 00:25:53,080 --> 00:25:55,520 Speaker 1: in different ways, passed on through various oral traditions, through 363 00:25:55,560 --> 00:25:58,040 Speaker 1: a game of telephone and people adding new things, and 364 00:25:58,600 --> 00:26:01,520 Speaker 1: what is that but trope. But it's like less conscious 365 00:26:01,560 --> 00:26:05,200 Speaker 1: and more earnest in a folklore context, and yet it's 366 00:26:05,240 --> 00:26:09,240 Speaker 1: become less so in the modern context. And so that's 367 00:26:09,240 --> 00:26:11,240 Speaker 1: what I was saying when I think a story that 368 00:26:11,280 --> 00:26:15,080 Speaker 1: plays with trope consciously and not just like I'm subverting 369 00:26:15,080 --> 00:26:19,440 Speaker 1: a trope, but like addressing that in really interesting ways. 370 00:26:20,000 --> 00:26:22,040 Speaker 1: Here's what Haley has to say about it at the 371 00:26:22,040 --> 00:26:25,200 Speaker 1: back of the anthology. For perspective's sake, I want to 372 00:26:25,240 --> 00:26:27,720 Speaker 1: share that I love a trope. I've gone looking at 373 00:26:27,880 --> 00:26:31,720 Speaker 1: character cliches and story been there, done that's, and I 374 00:26:31,760 --> 00:26:35,080 Speaker 1: start laughing and getting excited because they're wonderful. You can 375 00:26:35,119 --> 00:26:37,639 Speaker 1: make something incredible for most of them, they're so much fun. 376 00:26:38,359 --> 00:26:41,320 Speaker 1: So I wanted to take that enthusiasm and confront a trope. 377 00:26:41,359 --> 00:26:45,000 Speaker 1: I'm not a fan of the non ending of the end, 378 00:26:45,359 --> 00:26:48,560 Speaker 1: or is it often for me, it feels like a 379 00:26:48,680 --> 00:26:51,879 Speaker 1: cheat or sequel baiting, or a lack of perspective. But 380 00:26:51,960 --> 00:26:54,560 Speaker 1: when I thought deeper about it, beyond the implicit jump 381 00:26:54,560 --> 00:27:00,199 Speaker 1: scare lies a nightmare of endlessness. Paranoia lingers, trauma sticks, 382 00:27:00,560 --> 00:27:02,879 Speaker 1: and there's a sense of never really getting out of 383 00:27:02,920 --> 00:27:06,159 Speaker 1: a bad situation. I wanted to tackle the horror of 384 00:27:06,200 --> 00:27:09,520 Speaker 1: that non ending by stretching out the wound of that moment, 385 00:27:09,720 --> 00:27:12,720 Speaker 1: poking around at how far it could go and maybe 386 00:27:12,920 --> 00:27:17,040 Speaker 1: how cruelly it could cut. And then Hazel, who helps 387 00:27:17,040 --> 00:27:20,840 Speaker 1: me pick stories, said about this. I love how Haley 388 00:27:20,920 --> 00:27:24,439 Speaker 1: uses a trope that I'm also often annoyed by to 389 00:27:24,560 --> 00:27:27,800 Speaker 1: explore the viscerality of trauma. I've heard and I don't 390 00:27:27,840 --> 00:27:30,720 Speaker 1: know this is literally true, but it often feels that way. 391 00:27:30,920 --> 00:27:34,520 Speaker 1: That the amygdala, where fear and trauma are processed, doesn't 392 00:27:34,600 --> 00:27:37,800 Speaker 1: encode memories with time. So when you experience a memory, 393 00:27:38,240 --> 00:27:40,960 Speaker 1: it's really easy to feel like it's happening right now, 394 00:27:41,320 --> 00:27:44,040 Speaker 1: that you're still living in this story, and that's a 395 00:27:44,080 --> 00:27:46,560 Speaker 1: horror story, never being able to move on, still jumping 396 00:27:46,560 --> 00:27:49,640 Speaker 1: at shadows, perpetually needing to stay on edge to keep 397 00:27:49,640 --> 00:27:55,800 Speaker 1: yourself safe. This is Margaret again. My perspective again, I'm 398 00:27:55,840 --> 00:28:00,000 Speaker 1: really drawn to the prose of this story. Very specifically. 399 00:28:00,440 --> 00:28:02,399 Speaker 1: I was reading this essay and I didn't write this 400 00:28:02,440 --> 00:28:03,760 Speaker 1: into the script, so I don't have it in front 401 00:28:03,760 --> 00:28:05,240 Speaker 1: of me. I was reading this essay like a day 402 00:28:05,320 --> 00:28:08,719 Speaker 1: or two ago, written by an author talking about how 403 00:28:09,320 --> 00:28:13,040 Speaker 1: they don't love most prose and writing of the golden 404 00:28:13,119 --> 00:28:16,800 Speaker 1: age of science fiction with the exception of Ray Bradberry. 405 00:28:17,280 --> 00:28:21,400 Speaker 1: And in that piece they talk about how people kind 406 00:28:21,400 --> 00:28:25,320 Speaker 1: of came along and added writing really beautiful prose to 407 00:28:25,440 --> 00:28:28,080 Speaker 1: genre fiction at some point, and this is of course 408 00:28:28,119 --> 00:28:30,840 Speaker 1: an exaggeration on some level. But then that author again 409 00:28:30,840 --> 00:28:32,560 Speaker 1: whose name I don't remember, who wrote this essay that 410 00:28:32,600 --> 00:28:35,360 Speaker 1: I read a few days ago, goes in like list 411 00:28:35,440 --> 00:28:38,600 Speaker 1: contemporary authors who do it really, really well and specifically 412 00:28:38,680 --> 00:28:42,800 Speaker 1: names Haley Piper, And having just read this story by 413 00:28:42,880 --> 00:28:46,360 Speaker 1: Haley Piper, it really stuck out to me. There's ways 414 00:28:46,400 --> 00:28:50,600 Speaker 1: of doing prose that's beautiful without getting lost and like 415 00:28:50,640 --> 00:28:53,440 Speaker 1: I'm just going to beautifully describe all of these details 416 00:28:53,440 --> 00:28:56,320 Speaker 1: of things and getting kind of purple. But instead, there's 417 00:28:56,400 --> 00:28:59,920 Speaker 1: ways of doing beautiful prose that's moving the action along 418 00:29:00,160 --> 00:29:02,440 Speaker 1: and ties into the plot, and that's what I think. 419 00:29:02,440 --> 00:29:06,640 Speaker 1: Hailey is a master of these sentences that are like 420 00:29:07,080 --> 00:29:11,560 Speaker 1: becoming beautiful by cutting out words and taking abnormal structure. 421 00:29:12,840 --> 00:29:16,320 Speaker 1: But yeah, if you want to know more about Haley 422 00:29:16,400 --> 00:29:21,280 Speaker 1: p here's Haley's bio. Hailey Piper is the Bram Stoker 423 00:29:21,360 --> 00:29:25,520 Speaker 1: Award winning author of novels, short fiction, and nonfiction. She 424 00:29:25,640 --> 00:29:28,920 Speaker 1: is an active member of the Horror Writers Association and 425 00:29:29,000 --> 00:29:32,360 Speaker 1: lives with her wife in Maryland, where their paranormal research 426 00:29:32,720 --> 00:29:36,480 Speaker 1: is classified. Her new novel is A Game in Yellow, 427 00:29:36,840 --> 00:29:40,080 Speaker 1: and she has a short story collection out called Teenage 428 00:29:40,120 --> 00:29:43,880 Speaker 1: Girls Can Be Demons. You can find her at Haileypiper 429 00:29:43,960 --> 00:29:47,000 Speaker 1: dot com and Hailey, I mean it's in the title, 430 00:29:47,040 --> 00:29:50,640 Speaker 1: but it's h A I L E Y P I 431 00:29:51,000 --> 00:29:55,040 Speaker 1: p e r dot com. And I'm Margaret Kiljoy and 432 00:29:55,200 --> 00:29:57,920 Speaker 1: you can find me on the Internet by looking up 433 00:29:58,040 --> 00:30:00,560 Speaker 1: Margaret Kiljoy. I'm on Blue Sky and it st. I 434 00:30:00,600 --> 00:30:03,640 Speaker 1: hate social media with a desperate passion, but also recognize 435 00:30:03,640 --> 00:30:06,360 Speaker 1: it's the waters in which we swim. And I have 436 00:30:06,400 --> 00:30:09,640 Speaker 1: a substack Marter Kiljoy dot substock dot com where I 437 00:30:09,760 --> 00:30:13,080 Speaker 1: post my thoughts. And I also have another podcast called 438 00:30:13,080 --> 00:30:16,160 Speaker 1: cool People. It did cool stuff And thanks for listening. 439 00:30:16,200 --> 00:30:18,080 Speaker 1: All the way to the end of the podcast, because 440 00:30:18,120 --> 00:30:22,760 Speaker 1: it is the end, isn't it No, it actually is 441 00:30:22,840 --> 00:30:27,200 Speaker 1: the end. Okay bye. It could happen here as a 442 00:30:27,200 --> 00:30:30,080 Speaker 1: production of cool Zone Media. For more podcasts from cool 443 00:30:30,120 --> 00:30:33,000 Speaker 1: Zone Media, visit our website cool zonemedia dot com or 444 00:30:33,040 --> 00:30:35,680 Speaker 1: check us out on the iHeartRadio app, Apple Podcasts, or 445 00:30:35,720 --> 00:30:38,800 Speaker 1: wherever you listen to podcasts. You can find sources where 446 00:30:38,800 --> 00:30:41,800 Speaker 1: it could Happen here, updated monthly at cool zonemedia dot 447 00:30:41,840 --> 00:30:44,040 Speaker 1: com slash sources. Thanks for listening.