Somewhere in the Skies - The Mothman Legacy

Episode Date: November 2, 2020

On episode 185 of SOMEWHERE IN THE SKIES, Seth Breedlove returns to talk all about his new film, The Mothman Legacy. The Mothman Legacy is the story of one of the most frightening American urban myths, the legend of The Mothman, a red-eyed creature seen by some as a harbinger of doom in 1960s rural West Virginia, where sightings of the winged demonic beast were first documented. Many believe the Mothman to be a 1960’s phenomenon, an omen only appearing before tragedy, and disappearing after a flap of sightings and the subsequent Silver Bridge collapse in 1967. But what if the origins of this omen trace back much further and go much deeper than anyone realized? And what if the sightings never ended? We discuss the cultural aspects of the Mothman, the terrifying eye witness reports, and then Breedlove answers your listener questions. Watch "The Mothman Legacy" by CLICKING HERE Visit Small Town Monsters at: www.smalltownmonsters.com Patreon: www.patreon.com/somewhereskies Website: www.somewhereintheskies.com YouTube Channel: CLICK HERE Official Store: CLICK HERE Order Ryan's Book by CLICKING HERE Twitter: @SomewhereSkies Instagram: @SomewhereSkiesPod Watch Mysteries Decoded for free at www.CWseed.com Episode edited by Jane Palomera Moore Opening Theme Song, "Ephemeral Reign" by Per Kiilstofte SOMEWHERE IN THE SKIES is part of the eOne podcast network. To learn more, CLICK HERE Support this show http://supporter.acast.com/somewhere-in-the-skies. Hosted on Acast. See acast.com/privacy for more information. Learn more about your ad choices. Visit megaphone.fm/adchoices

What's up guys, Ryan Sprag here, and I'm just dropping in to remind you about our Patreon campaign. Somewhere in the skies is always free to consume, but it's not free to create. So if you want to help the show on a monthly basis, we have tons of rewards for you in return, including shoutouts on the show and website, bonus content and episodes, and free merge. Want to be my guest or pick a topic for the show? You can do that too. So if you'd like to learn more and to help support the show, visit patreon.com. com slash somewhere skies. Thank you and keep looking up. As I laid on the mattress, I dozed off. I immediately started feeling like I was dreaming.

I had a dream that my son, my eight-year-old son, was standing beside my bed. I remember in the dream asking him why he was there, who brought him there, and how to get there. And I guess I had enough consciousness to know he shouldn't be there. So I immediately woke up, and when I did, there was this figure standing beside the bed. Had long arms, skinny like fingers, skinny arms, wings above its shoulders, and its face. I could see dark, large circles where its eyes would be. And it was late in the evening. We were coming around the first curve, and the first curve would be near a graveyard, actually.

And as we came around the curve, we slowed down, and the headlights hit something in the road. What they hit was a form. And for a split second, I thought, oh, it's a large bird in the middle of the road. It kind of stands up a little bit. It was just one movement. It shot straight up. This is Somewhere in the Skies with Ryan Spred. Welcome, everybody, to another episode of Somewhere in the Skies.

I could not be more excited to bring today's guest on to talk about his new film. You've seen him. You've heard him before. You've seen his movies. Seth Breedlove is with us today. And we're going to be talking about his new film, The Mothman Legacy. Seth, thanks so much for joining me. today, brother. Yeah, thanks for having me on, man. Of course, you have been a freaking machine lately

getting the word out about this film. But yeah, I guess before we really get into what Mothman legacy is about, this isn't your first Mothman endeavor. So I got to ask, what about this one is different from your first one? And yeah, give us a little idea of what we're dealing with then with Mothman and Small Town Monsters and now. Well, yeah, I mean, then I was, when we made the Mothman at Point Pleasant, I was working a part-time job still. So, so like that's like the biggest thing. It's like I was able to focus on this full time. But I have really fond memories of the Mothman and Point Pleasant like making that movie.

And during the press for that movie, we were constantly being asked if we would be making a sequel to it. And I always said no, because to me, that story, the Mothman story was that 66, 67 wave of sightings. It wasn't that I didn't, I was aware there was other stuff. I just wasn't as interested in the other stuff as I was everything that led up to the collapse of the Silver Bridge in, in 1967. So I had always said no. And going beyond that, like, you know, during that time period, Tommy, we had just had

our son. He was three weeks old when we stayed in Point Pleasant. and did the premiere and all that stuff. So he was tiny. Like it was a very special time in my life. And then the movie came out and did just bananas. Like it did so well it was ridiculous. And I was just, I didn't think we could top the experience, honestly.

But over time, like we started right around that time. We started getting contacted pretty constantly by witnesses and people who claim to be witnesses. And I started to realize very early. into 2018 that a follow-up was probably going to be necessary. We just didn't know what that would be. And we still didn't,

even when we started filming this movie, we didn't know what that would be. So what brought me back to it was this idea of story evolution, the evolution of stories and how they're told. And it's something we've been exploring for a while. It's something we've been exploring really since maybe boggy, probably more like Mothman, if not Mothman. Mothman is the first time we started talking about that,

you know, vocally. I think all the movies are about that. But in Mothman, we really started to pull at that thread. And so Mothman legacy in a way is the evolution of that. It's interesting, too, because now that I've said that, I just realized that from Mothman of Point Pleasant to Mothman legacy, every movie in some way is exploring that theme, storytelling and like the evolution of story, except Bell Witch. So I might have gotten it out of my system with the Mothman legacy.

Belwich does not really go into the evolution of story. It's more about history and just telling a scary ghost story. Yeah. But what brought me back to it was the evolution of story and the idea of exploring the history of Appalachia and the Scots-Irish immigrants that sort of settled the area and the Native Americans, the First Nations people who lived there. and how the mothman story was sort of always a part of that part of the country, whether it was called the mothman or a banshee or whatever.

And so that was that was what drew me back to it. And I'd be lying if I didn't say that there were so many witnesses contacting us that I knew we wouldn't have any problem with that side of the story. Like we would not have it. There would be no dearth of witnesses to talk to about their encounters. Right. And that really surprised me. And I do want to ask you a little about those eyewitnesses who came forward. But before we get to that, moving back to Two Point Pleasant, I want to talk about the cultural aspect too, because that's fascinating to me. But Jeff Wamsley, the guy who runs the Mothman Museum in West Virginia. Yeah. Can you, maybe for our audience who aren't familiar with who this dude is, who is Jeff? What does he do in?

the town and yeah maybe give us give us an idea paint a picture for us of what's going on in west virgin uh well yeah jeff is uh hair that would be hair um no jeff is so jeff's the curator of the mothman museum and um i first met jeff in november of 2016 and i've since become a friend of the family and my wife's friends with his daughter and like we we both have kids and all this kind of stuff. So he's a really cool guy. But he, um, other than John Keel, uh, and probably more so than John Keel, Jeff Wamsley has done, um, so much for the mothman's story and the, and the history of the mothman and really just paranormal history in that part of, of West Virginia, if not all of West Virginia. Um, he is a, um, a, uh,

an archive, a human archive of information, uh, relating to that case. He's interviewed witnesses. He's interviewed, you know, experiencers and basically investigators, like anyone that's had any kind of connection to the Mothman story he's talked to. And he's been running the Mothman Museum in Point Pleasant since the late 90s or early 2000s. Formerly, he was a record store owner. And he still is a teacher today. So he's very connected to Point Pleasant. and really, I don't know that people there realize this.

I know a lot of credit goes to the Mothband himself, but Jeff has probably deserves the lion's share of the credit for the economic revival that Point Pleasant has seen over the last few years. When we were there a couple weeks ago for the Mothman legacy signing, keep in mind we're in COVID times. There was an endless stream of people into that museum. There were people walking up and down. Main Street in Point Pleasant.

There's little stores and shops that are opened all over the place and little independent businesses that are doing really well. And all of the credit for that goes to the Mothman and the Mothman Museum and Jeff. Right. And I mean, even in this film, Jeff mentions like, this thing draws in tens of thousands of people, which is incredible to me to think of like, you look at something like Roswell. You know, if that craft hadn't crashed there in 47, that town always. probably be gone. I mean, let's be

honest. There's not much going on in a small town like Roswell, and it draws hundreds of thousands of people every year that literally lets the town survive for that year until the next festival. So that's a big part of all this as well, right? Yeah, I think

hundreds of thousands is probably accurate, if not more. I mean, you get to think of like the one day we were there, we saw thousands of people coming in and out of there. And I'm not exaggerating. Like, it's just an endless stream of people. And, and the festival draws 15,000, you know, annually.

It's the second biggest event. It's the second biggest draw on the state of West Virginia. And any more, the way it is, like, if people are talking about West Virginia, they talk about the mothman. It's just, like, part of the state's history. It's like country roads and mothman. That's what everyone knows about West Virginia. Yeah. Yeah, you can't understate the value that the Mothman gives to that state.

Right. Country, I would say country folk song in the making for sure. But Appalachia. Now, this was really fascinating. You know, the first kind of maybe quarter to half of the film really dives into the history of the area, like you mentioned. And of course, like I was thinking Native American, okay, I totally get that. But like you mentioned, the Scots-Irish settlers, that really. really threw me for a loop, something I never even would have thought about. And you mentioned

at the top here about banshees. Again, like something I would never attribute to something like the Mothman, but this seemed to be one of the things you really focus on. So could you tell us a little about your theories on could Mothman possibly be what this, you know, sort of Irish Scottish folk tale of the Banshee is. Yeah. And I've been trying to figure out, like one of the things about our movie is are movies just in general. We don't draw conclusions for viewers. We kind of like put the facts out there and let them make up their own minds about things. So one of those threads in this movie is the Banshee and the Scots-Irish settlers.

It also goes into like the Garuda and other folkloric and mythological creatures. But what drew me to it was this connection between the folklore and mythology of the people that settled the land and how connected that seemed to be to the mothman. And so what happens is you have to, I'm not necessarily making the point that the mothman is simply a remnant of an oral tradition, you know, that dates back to Scott's Irish. I think there's more to it than that. But you have to wonder how much of the folklore that came over with some of those immigrants that settled that area, how much of their folklore has infused.

itself into that story, the Mothman story, and does that play out in ways like the fact that we consider the Mothman a harbinger of doom, or that's become such a key part of the legend? Is the Mothman considered a harbinger of doom because it showed up around Point Pleasant for well over a year prior to a bridge collapse? And is that the reason or is it because there's a Banshee that people can connect back to that they may have heard about it as children from their, you know, their Irish grandmother, this creature that supposedly heralded oncoming disaster and tragedy. So when another creature shows up with red eyes in the 60s,

all of a sudden people start saying, this thing might be here to warn us of something. Does that play itself out in some way? That's all what drew me to this story. Heather talks about screechows, the screechows that supposedly show up at people's women. windows prior to a tragedy. There's a lot of that mythology baked into the Appalachia and their culture and their

folklore. And we left a lot of stuff out, man. Appalachia is a really strange place. And obviously, it's not just West Virginia. This stretches from Alabama up into New York. And you can trace that those Appalachian roots, the Scots-Irish roots, all the way along that range and they everywhere you go you have that kind of weirdness but there is there is something about west virginia that seems to seem to invite it and and it's interesting heather part of heather's

interview that didn't make it into the movie she talks about how west virginia the west virginia portion of appalachia seems to keep a hold of those roots better than some other areas so you lose you lose some of the cultural influence on on the region in places like New York a little bit, you know, you lose that in the way people talk and their accents. And you might lose it a little bit in the way they tell stories and the stories they tell. But the, I completely forget where I was going with that, but it was going to be a really killer point. Oh, no. They don't come back to me at some point.

No, man, Banshee. Well, I think the big thing I think to focus on with. this sort of lens that you used in the film is that oral tradition plays a huge part. I mean, I'm on Oahu right now, and I just did an interview with a master ghost storyteller who's native Hawaiian and has lived here his whole life. And to hear someone say, like, everything my people know was never written down. We were never told, we were never, you know, raised to write things down. And the stories are just passed on and on and on.

And of course, things are going to change with time and evolve. But I thought that was fascinating. But also the other part of that is bringing in different tradition. I mean, Hawaii is extremely ethnically diverse. I mean, you have a big Filipino culture, Japanese culture. And those stories start to become the biggest stories in Hawaii. Like the faceless woman of Japan is probably one of the, the most famous ones.

And it's not even a, you know, a Hawaiian story. So I was going to say they, they seeped their way into the like the literal, that not the literal, but the fabric of the region. And that was where I was going with that was, I was going to mention granny witches, which originally I really wanted to get into granny witches in the context of the moth band story. Because I think there's some sort of connection there,

but I'm not sure what it is. But you have this. There was a whole like five minute section originally that got into the religious aspects of Appalachia and how the region was Scott's Irish, but you had in the 1800s, these, early 1900s even, you had spiritualism sort of coming together with Christianity in this strange way. So you'd have like what they referred to as granny witches, which would be just someone's grandma, but she's like mixing herbs in the woods and casting spells or whatever. And she's also going to church on Sunday.

And you had like, it's just such a weird, it's a weird melding of cultures and belief systems and some of that plays out in the way stories are told. And in the movie, the way that all sort of culminates is when Lyle says when the mothman shows up, and these aren't the exact words, but when the mothman shows up in the 1960s, it wasn't that strange to a place that had, that had, that, that were telling stories of, of glowing red-eyed banshees and screech owls and granny witches for, for decades, right? So I just think, I think there's something to that, you know, like the, the, the mothman was always a part of that region. It just may have been receiving a different, you know, title up until that point. Right. Yeah, and again, you always wonder chicken and egg, like, does the phenomena evolve with the storytelling or the culture and vice versa? And, you know, again, that's stories. Like, it's a little bit of both that gives and takes.

But one of the stories about Mothman that I'm sure most people are familiar with is the 2002 Richard Gear film, written by Rich Hedham, who you had in the film, which is awesome. You know, it's very rare that you get to get the inside story of a writer who created something that was so big. And that movie was huge at the time. So I'd love to ask you, what did Richard bring to the table? What did you find most intriguing about what he had to say? And what impact did that film have on, I guess, maybe the town or just the overall perception of Mothman? Yeah, what was that all like? Yeah, I mean, so I have to start that out by saying, like, I have in recent years sort of given,

and Rich's movie, The Moth Man Prophecy is the credit for being like my introduction to the paranormal. So I didn't I am not the type of guy who was into this my whole life. I didn't get into it until mid-2000s. I would have been in my late 20s when I started getting an interest in this stuff. So like,

you know, Rich's movie came out in 2002. Zach, my director of photography, you've met Zach. Zach and I went to see the Moth Man Prophies movie probably four or five times at the dollar theater. Like we were obsessed with that movie. And so it was,

it was vital to me to have him involved, but I had also been aware that he was a fan of the Mothman of Point Pleasant, and we had emailed back and forth so I knew I could get him. But it was vital to me that we get him involved because I wanted him to be there to talk about that pop culture aspect of the Mothman story post 2002. and I was also aware that he himself was responsible for a lot of what gets passed around as Mothman history today. Like he had fictually written a lot of these things, especially the Blackbird of Chernobyl idea, which I would like to say, I hope we put to bed with the Mothman legacy, but I'm sure it'll keep coming up.

But having Rich involved was really important. And, you know, we set up. So we were in L.A. filming on the trail of UFOs. We were there to film an interview with Greg Bishop. We had two other interviews. Ellie was with us. We were interviewing her, and then we had another interview. And then we had an interview with Forrest Burgess, actually, for the Mark of the Bellwitch.

He's one of our key people in the Mark of the Bellwitch. So it was kind of a weird trip because we were out there to film interviews for three different projects at once. And actually, we did Forrest's interview in one. room of this rental where we were and then we did four riches in the next so it was like back to back we did their interviews for two different films that we were nowhere near filming yet at that point either um but the most surreal thing to me about this whole thing has been watching rich react to um the movie the mothman legacy i told i just had a conversation with him yesterday um it was it was a I did a Zoom interview with the guys from astonishing legends and him.

And we just talked about the movie and the making of the movie and everything. And he went on like a three or four minute tangent about how much he loved the movie and why. And I like was this close to the tears? Because like I'm sitting there like listening to him talk about it. And I could very easily cast myself back to Zach and I sitting at movies four. in Kent, Ohio watching his movie, you know, like, and really getting into film, and that was a very formative point in my life because I was really into filmmaking. And that's what Zach and I bonded over was like filmmaking. And to hear him like talk about how much he enjoyed the movie was

obviously probably one of, if not the highlight of this whole thing, one of the highlights of it. But just having him in the movie, he's, he plays such a key role. He's got so much unique insight into the mothman story and then he has his own theories on what's going on like he's and he's shifted like he started very early on in his and his looking into the paranormal he was very much um i think he's a lot like he was a lot like i am now very ground level doesn't necessarily buy into a lot of the paranormal stuff like more he tends to go more like nuts and bolts at that point of time he tended to go nuts and bolts when it came to this kind of stuff and now he shifted like dramatically. I think he very much, you know, is in the, I hate to speak for him,

but I think he'll, he has some, some opinions on it that would push, you know, the boundaries of like quantum physics and all that kind of stuff. And so it's, it's, it's, he, over time, he's gone in a very different direction from where he started. So having that insight was, was really important as well. This episode is brought to you by Netflix. Most valuable promotions in Netflix are hosting a Blockbuster triple headliner Saturday, May 16th. Rhonda Rousey returns to face fellow woman's MMA pioneer Gina Carrano in the main event.

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And again, the idea that our thoughts and theories can constantly evolve on all of these phenomenal. is extremely important. And, you know, I think there is a very trickster element to all of this where the minute we think we have an answer of what Mothman could be, something else gets thrown on the table. And that's awesome. I think the journey is so much more rewarding, right? I mean, if we knew the answers, it probably wouldn't satisfy everyone, first of all. Everyone's still going to have their own theories on what it is or isn't. But yeah, I always find that fascinating when people are willing to change their mind and adapt to a new set of, you know,

either scientific rigor or just storytelling, you know? Yeah, I think that's probably where he's coming from too. It's like that story. And there's some similarities there between Rich and John Keel. Because you've got that same shift that happened with John Keel. You know, like, Keel did not start out where he ended up. He didn't come into this with like his ultra-terrestrial hypothesis sort of formed. And he formed that over time and over interacting with some very weird elements of this particular case, the Mothman case.

I think that's probably the reason he – I think Kiel is more well known, obviously, because of the Mothman than anything else he wrote or studied. but I think it had it had the biggest impact on him personally, at least from my point of view of any of the cases he wrote about or investigated. It seemed to have a lasting effect, even though he tried to outrun it at certain points in his life, especially, you know, from the 80s to the 90s, I think he was kind of like getting away from it as much as he could. When the movie came out, it brought him back around and it was kind of like, I think I think what I like about that is it's almost a redemptive story, not just from a point. Pleasant, but for for Keel and, and his relationship with the Mothman. He had kind of done everything he could by that point to put some distance between himself and the Mothman story. And so when that movie came out and he traveled to Point Pleasant and saw the, how much

they were embracing the story and the statue and all that, it was, I think it played a role in him viewing. if not his entire career, at least that particular case in a new light, you know, a less negative light than he might have been viewing the whole thing as at that point. Right. Yeah. And see, maybe that's what it was supposed to be all along, you know? And if I'm not mistaken, he passed away not too long after the movie came out, right?

So, yeah, that is kind of a full circle moment, I think. which is cool. Well, in terms of John Keel, I mean, we know about his work on all of this. We know, you know, Great Barker was involved at one point. And this is kind of, you know, amongst some other UFO events where we start to have the lore of the men in black start to pop up. And I thought it was really cool in the film. You introduced someone that I'd never heard of, and that was Mary hire who was a reporter in West Virginia. And she had some interesting run-ins as she was constantly covering the Mothman's story. So yeah, could you tell us a little about who Mary was and why he decided to use her in the

film? Yeah, I mean, Mary to me is more important to, you have to be careful. I'll phrase this. Mary to me is in a lot of ways more important to the Mothman story than Keel because one Once Keel was done with it in 67, once the bridge had collapsed, and he was already by the point at which the bridge had collapsed, he had kind of like stopped coming to Point Pleasant, even at that point in time. But once that bridge collapsed, once the silver bridge went down, he was done. Like he did not return to Point Pleasant until the movie in 2002 had come out and he came for the Mothman Festival. So he was done in Point Pleasant, but Mary was still there.

And at that point in time, she was writing for the Athens Messenger, which is, they say it's a nearby, it's a nearby town, but it really isn't that close. Like, Athens is 45 minutes, close to an hour away from Point Pleasant, but apparently there, everything is kind of spread out. So she wrote for the Athens Messenger, and she had an office in downtown Point Pleasant. And people would come to her with their, not just their Mothman stories, but UFO encounters, men and black stories and all that kind of stuff. And then she would almost act as a clearinghouse for keel. She would go, you know, she'd pass that stuff on to keel. A lot of the cases that you read about in the mothman in the mothman prophecies are stories that were passed to hire, that higher than passed on to keel. So higher deserves to me the lion's share of the credit for the investigation that went on into the mothman story.

and definitely for preserving those stories. She had a newspaper column called Where the Waters Mingle. Called that because Point Pleasant sits on the confluence of the Canal, Kanaw River, I think that's how you say, Kanaw River and the Ohio River. So it's, you know, it's where the waters mingle. It's the confluence of those rivers. And her, she, over time, basically that column just became, her reciting strange activity around Point Pleasant and much of West Virginia.

And there was an incident sometime during 1967, wherein she was visited one night by a mysterious man in black who came into her office. I believe he asked her if she had a pen, and then when she handed him the pen, he acted as if he had never seen the pen a pen and didn't know what to do with it. really weird incident also had a creepy smile and eventually left and that's become like one of the more famous parts of the mothman story the coolest thing about that is you can still go to write down by the state theaters is that office her old office and there's still a there's still sign out front that says higher on it so you know where you're looking when you're down there but

yeah mary was a a key played a key role in the whole thing she passed away prior to the release of keel's book. So not long after the bridge collapse, not even 10 years, she had passed away. But you can find, you know, there's the John Keel archives online. You can find some of the letters that her and Keel would write back. And it becomes pretty obvious. She's really feeding him a lot of the information. Yeah, one of the forgotten people, I think, of all of this. So it was so cool to see you highlight her in the film. And the other big aspect of the film that we haven't really touched on yet is, like you said, the stories. And you had some incredible eyewitness encounters in this film that stretched far beyond just point pleasant and everything. And I was wondering,

is there one story, Seth, that you covered that kind of really stuck out to you as unique, or that you may have thought you knew where this film was heading or the stories were heading, but completely through you for a loop? Anything really stick out to you in terms of the eyewitness accounts? Yeah, if it's cool, I'll do too because So the first has to be Maryland And she's the first witness you actually meet in the movie And the reason this one was unexpected And really took the movie in some unique places was

I had set up the interview with Marilyn Because there was a story I had heard of hers And I have to give credit here to Heather Mosier Who assists in all of our research stuff on these movies and helps line up interviews. She's been amazing. But Heather and I had talked about Marilyn had a sighting that happened in the 70s where her and a friend from school were driving home from a dance or something.

And they heard something land on the roof of the car and they had to try to get rid of it. So they were like flying down these roads and like trying to shake it off the roof of their car. Really interesting story. And we had plans for how we were going to present that. the film and like probably an animated sequence, but we were trying to figure out a way to do it live action. We were going to have a lot of fun with that sequence. And then offhandedly, she told this story about as a child seeing red eyes outside of her window at night. And then she went into the story about the car and all that. And then we shut down the cameras. And as we were getting

ready to leave, she started talking about how her dad was in a plane crash a week after her sighting. and how she believed that the mothman was appeared to her as a child to warn her of her father's, the plane crash. And so we flipped the cameras back on, obviously. And she sat back down and told us that story. That was so unexpected. She basically, as a child, woke up one night, heard us sort of a strange noise outside of her window. And this, I think she says this in the interview.

she might mention the strange like giggle or odd sound outside of her window. She wakes up, she looks out the window, and they're in the yard or these red eyes looking at her. And two weeks later, her dad is on a TWA flight out of Cincinnati. I can't remember where they were flying. He's on this TWA flight out of Cincinnati that crashes into an orchard on takeoff. And a lot of people died, like 18, somewhere in the neighborhood of like 18, 20, 25 people died. on this plane crash. Her dad did not die, but he was next to somebody. He actually pulled someone off the plane who could have died, whose wife died on the plane. So this was a huge tragedy. And in

doing my research on this, it's one of the most well-known plane crashes in American history. And her father lived through it. She sent me the newspaper article yesterday that shows him in his hospital bed. Anyway, that was so unexpected. Like, that was just not something. We knew was even a part of her story because I don't know if she didn't feel that it was as as impressive as the creature on the roof story or what, but it was such an interesting story to me. So that, that in a way informed the whole movie going forward because I think you begin with a harbinger story and you sort of end with a harbinger story.

And that those bookending stories are the ones that resonate the most with me. Les Odell, who's a friend of mine and was actually. in the MoMo, the Missouri Monster, he's one of the posse members, helped us carry all our gear and the dude's awesome. And he also runs a group called West Virginia Case, which is like a creature. I can't remember. I always do this. It's some sort of, like they investigate like paranormal cases in West Virginia.

Super cool guy. But he has a story about, and it just occurred, I think, in 2019, if I'm not mistaken, it, place in 2019 when his father was basically dying. His father was going through a lot of health issues and Les and his brother had basically moved in the house to help take care of him. And one night, Les woke up in the middle of the night from a nightmare. He had had this nightmare that his son, who shouldn't have been there, was standing next to his bed. And he couldn't figure out why he was there. And it really scared him. And he wakes up. And when he's he wakes up at the foot of his bed is this creature.

And it's around four feet tall wings and it was gliding in the air. And he also said that it sort of like was a little bit like a VCR. Like when you have a VHS in or something, it had like a static look to it, which I thought was really interesting because I've experienced something similar to that, not with a winged creature. but anyway he said it glided across the room never touched the ground glided across the room and went through a wall and about i think it was a day and a half later his father died so he connects you know that story with with what happened to his father and one of the one of the key parts of that is that his father

had claimed to have seen the same creature a couple years before which you catch at the very end of that interview, which is really interesting. And then he draws it constantly. He's still, like even today, he drew it for a movie. You see him drawing it in the movie. He draws this creature, this winged creature, like almost obsessively. Those are my two favorite stories, but there's, I mean, I love Jack Patrick's story about seeing it in the abandoned building, mostly because he's got this thing that he talks

about staring at it for 15 minutes or whatever, and I think that's really interesting. Yeah. I can't imagine. Yeah. I mean, staring a mothman in the face. I mean, you can't get much better than that. Well, one of the big aspects about the film, too, Seth, were these recreations that you did, which were stunning to look at. I mean, any special effects artist should be, like, reaching out to you guys right now about that. So it really amplified the stories that were being told. Because I know as well as anyone else, Like it's some, it's, it's, it's one thing to just sit down, put a camera in front of someone and have them tell a story. But then to kind of get that interpretation from the artist making the film is so important. So could you tell us a little about what the special effects process was for this film? And yeah, how you guys came to kind of design them according to the witness accounts. Yeah. The, so obviously we filmed during COVID.

So it created a ton of challenges as it is for everybody. We had filmed four or five of the interviews in 2019, but the movie went through numerous delays because I was doing post-production on the trail of UFOs, which you were a part of. And as I was doing post-production, it just kept getting pushed further and further back, getting back out and filming.

And it got to the point where we were supposed to film in March, and then obviously everything shuts down. We didn't get back out until May. So by the time we got back out, there were so many restrictions in place and people were so nervous about being around one another and still are, that I ended up shooting the bulk of the recreations myself, just a one-man crew.

On two of them, Ron Lanham's and Les Odell's, actually. I had Aaron Gaskin helping me. And actually, I'm playing less in less as recreation, so don't let that turn you away from the movie. But, yeah, it was a really intricate process. where I, because I was filming alone, I could not rely on, on those recreations being

just intrinsically, interesting visually. So I had to come up with different visual elements for each one that would sort of, you know, catch a viewer off guard for like Les Odell's. We did the rain. It's raining outside. For Jack Patrick's,

There's this theme that I ran with visually of like everything turning, which was based somewhat on the fact that he was pushing a bicycle when everything happened. So you're in the spokes of the wheel and you're turning, but also his world was somewhat turned upside down when he saw that creature that night. So we introduced all these interesting visual elements to each one of the recreations. And then Santino Vitale, who does our effects work, came in and just did all the creatures. creature work that is really stunning stuff. The most exciting thing about the movie from a filmmaking standpoint for me was that we were able to do all the recreations ourselves. So typically we had to rely on animation, and the animation's always been great.

And there is some CG effects in this film that are separated from the live action stuff, like that aren't a part of the live action recreations. But all of the major recreations were shot. live action. And whereas with like the original movie, the Mothmane Point Pleasant, five or six other recreations are like two minute long animated sequences, we didn't have to do that. We were able to do this all in camera. So that was really exciting and presented like a ton of challenges because I'm not Zach

with a camera. I'm not, I don't fancy myself like a cinematographer. So I have to do that all on my own with. with like nieces and nephews and cousins and stuff like that in the movie was was a little a little rough but a lot of fun at the same time i can imagine again that you can hear it in your voice how much the uh creative process still is fun and i think that's what's most important when it comes to this stuff because you deal with some heavy stuff in your films and some of these people's lives they're traumatic events to a lot of people i deal with that in the alien

an abduction realm as well. So to justify this story, you're being told with such accurate and extremely well done animation, special effects, recreations, I think is what makes this film. I'm going to be honest, one of the best you've had so far. If you want my personal opinion, I was blown away from the first minute to the last minute.

And, oh, man, I won't say anything, but the end of this film is really, really shot in my bedroom shot in my bedroom too broad daylight bedroom and that that ending shot is like if to me that's the real um that's like the one where you can see the the talent of like Santino on display

because he took a shot that was really pretty pretty bland because we didn't have anything to work with and turned it into something really cool but yeah that the I'm excited that people are responding to this one especially the look of it I think there is like a unique look to this one that stands apart from some of our other stuff. Absolutely.

I couldn't agree more. Well, that's all the questions I have for you, Seth, but I've got a few listener questions if you're willing to stick around for this. Cool, cool, awesome. And again, this is such a supportive community of podcasters. I can't stress that enough how amazing it is. So a lot of these questions came from other podcasters who are itching to interview as well. But here we go. Andy from that UFO podcast asks.

What are some of the myths you could bust around Mothman? Anything you can think of? Oh, God, now he's asking this. I'm going to, I probably have dozens and I can't. Well, I mean, the thing to me, like, I just don't buy into the Mothman's connection to the Silver Bridge. I never, like, I never had because the idea is, right, the Mothman showed up 13 months prior to the bridge collapse, and then there's this bridge collapse 13, 13 months later.

First of all, it wasn't 13 months that he was, he was cited in, in, like, October September of 1966. So that's more like 15 months from the first siting to the bridge collapse. And then the sightings don't stop with the bridge collapse. They're just, they're reporting on them ceases and talking about them kind of stops around Point Pleasant. But as far as, you know, there being a connection to the silver bridge, I, I hesitate to make it because I don't actually see that connection for myself. I think we write that on to that story because there was a tragedy at a certain point during a year where the Mothman was cited.

There's a lot of myths about the Mothman that I can probably bust and I just cannot think of them right now. I'm terrible. That's totally fine. No, no, not at all. But I think you stress the most important thing is the bridge collapse, which now everyone connects. And then that's when you start to build on to this idea that Mothman is a harbinger of doom. And I mean, it kind of reminds me of, you know, the first flying saucer event with Kenneth

Arnold back in 47. He said that these craft looked like saucers skipping off a body of water. Right. He didn't say it were saucer shaped. But then look, everything after that, a misquote, I guess, in the newspaper of flying saucers, everyone saw flying saucers after that. So again, it's kind of building on to that story. and having it influence everyone's accounts thereafter.

So you have to wonder, and I think that's a really cool thing. And that's huge, you know, that the bridge collapse is not part of it, because a lot of the mainstream, that's all they know from the movies. So that's cool. All right, Yami from the Cryptid Chat podcast asks, Seth, what is it about Mothman specifically that you think draws people to him or it or her? I don't know. Yeah, I just did a whole interview with Latino review about this.

And we talked about it for like 15 minutes because that was like, that question came at like the perfect time today and then because we had just been having this discussion about that in our in one of the group threads on the STM group on Facebook. I personally, this is going to be comical coming off of someone who just claimed that there was no connection between the, the mothans. Silverbridge. But I personally believe that it is that 1966-67 story that excites people. It's a it's a three-act structured story with a beginning, middle, and an end, which you do not get in crypted or paranormal stories traditionally. You know, like usually it's more like what, what, you know, you see with something like Boggy Creek Monster, where it's these sightings that keep going. and, you know, there's no, there's multiple people involved. The 66, 67 wave of sightings involves, like, some key characters. Like, there's these people like keel and hire and, and, and the scarberries and the mallets.

And then you've got the siting of the mothman. You've got all these other elements, too, like from a story standpoint, that that story has everything. It's got men in black and UFOs and excitement and horror and tragedy. and I think that at least initially is what draws people to the mothman because as a creature, just as a creature, there's nothing that really separates the mothman that much from, you know, like a thunderbird or some of those other traditional stories. But because of that 66-67 wave, you have mothman taking on the role of a harbinger of doom or a creature who's warning us of oncoming tragedy. either way, he takes on this identity that might not have existed without that wave, without that story. Interesting. Yeah, yeah, you're right. I mean, it is a perfect, it's almost a screenplay written without having to have a screenwriter, I guess. Yeah. Yeah. And I think it again, it's sort of a gateway into all this, you know. We hear about it from the infamous story of the bridge and everything or the movie.

and then you can really start to focus on the individual stories of those who have cited it. So I think that's pretty cool. Awesome. Well, Lake on Twitter asks, have you ever, did you ever have any patterns of electronic disturbances or anything when you've been in West Virginia, Point Pleasant? Any interesting stories you can share. Yeah, I mean, that's the thing that you hear about with, so there's two places you hear about that constantly. one is Adams, Tennessee with the Bellwitch. We experienced nothing there relating to our electronics.

With the Mothman and Point Pleasant, supposedly when film crews or like paranormal investigating groups or whatever come to Point Pleasant, they run into all sorts of like electrical interference and batteries draining and lights turning off and all this kind of stuff. We, during the making of Mothman and Point Pleasant, experienced none of that. and we were there for extended periods of time. However, during the making of, weirdly enough, terror in the skies, we did not experience this again during the Moth Man of Legacy. This was only during Terry and the Skies.

We filmed two interviews that are in terror in the skies in the state theater on Main Street in Point Pleasant. And one was with Ken Gerhardt and the other was with Alice in Joinland. And during both interviews, we experienced two really bizarre. one of these things is not that bizarre, now that I know more about what's under the stage at the state theater, but we experienced two really bizarre, I hesitate to call them phenomena, but strange occurrences.

During Ken's interview, we were besieged by flies, which was really, it seemed odd at the time. I mean, they were everywhere, and they came from out of nowhere, but there were all of a sudden these flies all over us.

I've since learned that there are sewer issues under the stage there. So that's more than likely what was happening there. But during that interview, we kept having his microphone go out, which was weird. And then during Allison's, the batteries, we would put a battery on a light and it would drain almost automatically. And this happened multiple times to the point where we were forced to do, we were forced to run extension cords to the lights because the batteries were draining so quickly.

And they were full, fully charged. And one thing about that state theater that's strange is that tragic and strange. After the collapse of the Silver Bridge, you know, you're talking December of 1967 is a really cold day. They brought the bodies for identification to the state theater and put them in the state theater. And I believe they were in that theater for at least two days. They turned the air conditioning in the building on full blast, and that's where the bodies were. left for identification was in the state theater. So there is a tragic history to that building.

I don't know that that's what drained our batteries, but that's the only thing we've experienced in Point Pleasant is our batteries draining in the state theater. And Ken being covered in flies. To the point where when I was cutting his interview, I had to cut around the flies landing on his face. Like it was that bad. Oh, man.

I'm sure that was tough. Yeah. Well, again, just running with that whole wind creature thing. Now you got flies swarming everywhere. But I didn't know that that they stored the bodies there. I mean, that's just a plethora of paranormal, you know, supernatural possibilities as well. So that's interesting. You do have to wonder.

Well, you mentioned Alison Jornland, who is very well known for having investigated mothman sightings in Chicago and areas around there. we have another listener question here from Rick M. who asks, being from Chicago, I would like to know if there have been any MIB or intra-cold-like activity going along with all of the sightings we've had in Chicago. Do you know anything? I know you're working on a project that takes place, you know, over Lake Michigan and whatnot. So yeah, do you think we're dealing with the same creature from West Virginia and in Chicago, Seth? I don't know that there is a connection so much as they needed to brand it something and the media sort of dubbed it the mothman. There are some similarities between what's going on there in that what people are seeing occasionally does seem like just some sort of large bird or something. But more often than not, the sightings that are happening there do take on like a paranormal nature. You know, or people are talking about the creature being so black that it's like staring into nothing and that kind of thing. So, yeah, I don't know that we're dealing with the same phenomenon as what happened in Point Pleasant, but at the same time, I don't think there was one phenomenon to blame for the Mothman in Point Pleasant either. I think there was a lot of different things happening that contributed to the Mothman story, not just ignoring men in black and UFOs.

I'm talking about what was responsible for what people were calling the Mothman. I think it was multiple things. And so I'm really interested in what's going on in Chicago. We're going to head there at the beginning of December to make our movie. And it's going to be the first like full scale investigative look we've done at one of these cases as it's happening. We're not even really setting up advanced interviews other than we're going to interview Allison. We're going to interview Tobias. I'm going to make sure that, you know, we have those two talking about the case.

But we're going there to literally get answers. this time or any answers we can actually drum up in the short span of time given to a film production. And we've never done that, and I've always wanted to try to do that. So that's going to be my goal with that movie. And I don't know about like Indrid Cold or UFO activity taking place. I mean, it's Chicago, so there's going to be UFO activity.

But I don't know how much is taking place in connection with the so-called moth man sightings. Yeah. And I know Tobias personally, researched the Chicago O'Hare UFO incident, which is very famous now. And also wind humanoid creatures, I believe, being cited in that same area. So again, you have to wonder, the same with Point Pleasant, like, was one door open where all different phenomena started coming through or peeking in? You don't know.

But I can't wait to see what you guys do with that. And we should mention in Mothman Legacy, you do post theories on what Mothman could be, according to each cultural background and what I thought was really cool as well. We'll definitely let the viewers question those theories themselves. But the Bigfoot Society podcast on Twitter asks, what is it that you hope that viewers of the Mothman legacy will take away from watching the film? Just a sense of like the importance of story. I think that's the most of the theme of the movie.

if you look at Ashley and her dad, Ashley and Jeff Wamsley, you know, there's two generations there, and she's grown up with this story being told to her. And she's seen the positive effects of that story on not only her own life, but the people in that town. It's interesting. I'm friends with Ashley on Facebook, and like yesterday, her husband posted a picture of their son

and said how excited it would be Jeff's grandson. is every time he sees his pawpaw on TV. And that is because of the mothman. So there is the stuff that we grow up with, the stories we grew up with, it might seem at the time to be so unimportant or such a tangential part of our upbringing. Later in life, you really start to appreciate that stuff. And you can take that. The movie looks at it in a much bigger way, you know, with generations and cultures and, the cultural heritage of people.

But on a ground level, it's really about, you know, telling stories to your children or grandchildren or whatever it is. And the importance that that has, you know, that that brings with it. Absolutely. And I think also the focus on the individual, you did such a good job of putting the microscope on these people in the film. And how the events affected them. Again, like, it's cool to hear a story about it. It's the same with UFOs. like how big was it? What did it look like? Great. Like what happened? But how did it impact your life

thereafter? Your belief systems? The community, everything around it. So yeah, I thought that was a really fascinating approach you took in this film. And I loved him, man. I can flat out say, like I'm a huge fan of this movie. Fan of everything you do. My listeners know that. But our last listener question here comes from Scott on Twitter. And he asks, I guess I'd be interested in how Seth and his team stay objective throughout the whole process, from discovery all the way through to the final edit. I mean, you've covered so much paranormal phenomena, cryptids, UFOs, in all your time doing this, Seth.

Like, how do you guys, how do you go day to day after you're hearing these profound stories from people? And yeah, what's it like buying coffee in the morning when you just interviewed someone who said, you know, they were abducted by aliens or they, saw a winged creature that, you know, brought about destruction. Like, things are easy for us because we don't have, like, we don't set out to convince anybody of anything. So, so I find it easy to treat witnesses simply as people who have a story to tell. And you, you, I believe that most of the people we interview, 100% believe that what they say happened to them, happened to them.

I don't write it off. And I hate, I also have said recently, I don't like saying what I just said. It's an aspect of saying that that I bristle at because it does sound like I'm questioning their sanity or something. It's not that at all. I've had weird things happen to me as well. So when it comes down to like making the films, we don't try to put our own spin on things because that's not what we're supposed to do.

like you know this better than anyone like as a as an objective reporter or documentarian or whatever like that is your job is simply to to show things in the way that they're in the most honest way that they can be you know told the most objective way they can be told that that's what we try to do with the movies things change a little bit with like on the trail of like I feel like we can integrate our own opinions into into the filmmaking, into the storytelling a little bit more because it's usually being told from first person's perspective and on the trail of it's being told from Shannon's perspective on the trail of UFO's Shannon and on the trail of Bigfoot's me. And you can kind of hear things from our perspective.

So there's a little bit more of our voice being found in there. But in the films, we're really trying to keep ourselves out of it. So it's just whatever the theories and opinions are, that is coming from either some sort of historical, account or it's coming from a cultural, you know, standpoint or something. It's interesting, too, to see the difference between something like, this is kind of getting off the topic of what he just asked, but it's interesting to see the difference between something like

the Mothman Legacy or the Mark of the Bellwitch. So the Mothman Legacy is a movie about a phenomenon. It's not about, it's not about like one case or one story. it's a much bigger, broader look at the phenomenon of the mothman in West Virginia. It's similar to what we did with Terror in the Skies or the Bray Road Beast. Whereas we make other films like Minerva Monster or Beast of Whitehall or Mo Mo Mo, where you're basically just retelling a story, you know, and we don't get too deep in, like MoMo doesn't filter things through the lens of like Bigfoot.

it's not it doesn't bother with that it's just telling you a story about this family who encountered a creature behind their house that is the mark of the bell witch like the mark of the bell witch is is like sitting down at a at a dinner table or in front of a fire i guess is a better example and having someone tell you a spooky story so it's interesting we like we do these there's two different ways we do this and and those seem to be right now anyway those seem to be the two ways in which we do it and the only reason i bring it up is we made both these movies back to back and the differences couldn't be more apparent when you're when you're able to go from one literally directly into the next, you know, in the editing process. But I do find it easy

to remain objective also because I'm pretty skeptical of everything myself. So it's, it isn't that I'm out to debunk things or any of that. We don't, we don't bother. Like, that's not our job. But, but simply retelling stories and, and putting things in people's own words. There's an importance to that, too. I know there's this idea that, like, if you, if you don't do everything in your power to, like, get at the truth of what these people are saying,

then you're somehow not journalistic. Like, you're, then you haven't done your journalistic duty or whatever. But, you know, the fact is, most of the stuff you're never going to know if it happened exactly as they're claiming it happened. You're never going to know it happened. It happened 50, 60 years ago or whatever in most of these cases.

So our end of the day, our job is to capture history in a bottle. Yeah, yeah, exactly. And I think you're right. Every story has value. Even if we can't prove it or disprove it, it's part of it. It's part of this entire thing. And I think that's, again, I think witness testimony is a lot more important than people give it credit for.

And without it, what would we have this study? We wouldn't have UFOs to try to find data on. We wouldn't have Mothman to try to, you know, whatever, capture it or just, you know, just to figure out what it is without these reports. I couldn't agree with you more, man. Well, let's talk about what comes next. You mentioned Bell Witch. I know you got the new Smallton Monster Squad. Like, tell us, you are this, that guy where the balls constantly in the air.

You don't even take a moment to breathe when a film comes out. And you are a machine, man. So what comes next for small town monsters? Yeah. So on Monday, we start filming on the trail of UFOs Dark Sky on Monday, which is our look at returning to West Virginia. Our look at West Virginia history, we're also going to get to explore a little bit of Project Blue Book and some of the bigger picture UFO stuff.

But we're taking a different approach with on the trailer of UFOs going forward. The first season was a blast. It was episodic. It was great. It cost me an absolute fortune. I think you can see it when you watch the movie that it cost a fortune because we're jumping locations six times in every episode or whatever. And you're seeing the entire country. It just, it cost a fortune to make it.

We're making an indie film here. So at a certain point, you realize you got to rein it in a little bit. So what we're doing going forward is making these movies that are sort of set in specific locations, but we'll broaden out the bigger picture of uphology. And we're also trying to get a little more investigative in what we're doing now. We've set the stage for UFO lore where UFO stand. Now we're going to start looking into it for ourselves

and kind of finding new angles to some of these old cases. Also, in general, I don't think people realize the amount of UFO activity that took place in the state of West Virginia from like the 1950s into the 1980s. And that's a huge part of this for me. So we're going to start on that on Monday. Beyond that, Mark of the Bell Witch is ready to come out. We're going to launch that in December.

We're going to go back to the self-distribution model. So we're going to self-distribute that sometime in December. It'll come out right around the same time as the 200-year anniversary of John Bell's death. The trailer for that should be dropping sometime. this week. And then I'm really excited about, by the way. That movie pushes our visual style as far as it's ever been.

You know, Zach did all the director of photography work on the documentary, and then Santino was actually my DP on the recreations. And Santino, by the way, just finished working on mortuary collection. It's on

Shutter. He was the he was one of the effects artists on that so i want to make sure i rep that because it's it's a really cool movie it's like an anthology a horror anthology um and it's getting a lot of press like people are really digging that movie uh santino's was a key part of that but you guys when you see this movie you'll you know i've always had issues with paranormal with like ghost movies with a ghost reality tv it's all ghost hunting right like that's all we really see is some element of ghost hunting in those stories this is not that. This is a

ghost story being told to you. Yeah, yeah. So Mark of the Bell, which will be out in December. And then next year, we've got a whole bunch of stuff coming out. We've got Howell the Rookaroo on the trail of Bigfoot the journey, which we filmed this past summer. There's, yeah,

on the trail of Bigfoot, the discovery, on the trail of Lake Michigan, Moth, man. There's a lot happening. And you mentioned small time monster squad. So we announced that like last weekend as far as like what it is, but we're really starting to expand on what it is. And I'm really excited about that.

It was originally, it was originally supposed to be a, just simply like a member's only section of our site with like some YouTube videos and stuff. But it's, we were contacted by YouTube like a week ago about joining up with their beta. So at the point where we had already sort of prepared to do something else entirely, yeah, we were contacted by by YouTube but being part of their membership beta so you go on

YouTube on our YouTube channel and you can click this join thing and then you select the the level you want to be at and you get basically like a ton of different content we're launched there's multiple series involved in this there's like eyewitness reports um investigative reports production diaries um uncut interviews like we just launched uh david weatherly's uncut view from on the trail of UFOs on there. It's this massive, like, hour and a half long interview with David Weatherly about UFO history. And then there's tons of live stuff. The biggest thing is it's supposed to play a key part in On the Trail of going forward.

So when we go to on the shoot next week, we're going to be going on night ops, you know, every night, including in like Flatwoods and some of these historic locations. And we're going to live stream them. So you can be a part of that on there and take part in it. location tours, live Q&A's, all that kind of stuff. Smalltown Monster Squad is what we're calling it. You can either go to the YouTube channel for Smalltown Monsters and click join, or you can go to smalltown monsters.com slash members to check that out.

Awesome. I can't wait to see that David Weatherly interview for sure. That's so cool. And let us know if you see the Flatwoods Monster for sure. You'll see him, no doubt. Yeah, yeah. He's camera ready. Yeah.

He's good to get. Well, let us know where can we find the Mothman legacy? I think it just became available to rent, if I'm not mistaken. So, yeah, where can we find? It's on basically all major VOD platforms. So like iTunes and Amazon, Google Play, all those plit vood, all those big platforms. You can go to, I was going to think of what the genius link is, but now I can't remember what it is. It's a really simple URL.

We've been posting a lot on our Facebook page. So if you follow us on there, you'll find it. Or smalltown monsters.com if you want DVDs and Blu-rays. And that's also like the best way to support what we do is DVD and Blu-ray. If you don't do that, go on Amazon and leave a review because that's also kind of a big deal. That's Amazon reviews, which I'm sure you're aware of. Yep. I'm very familiar with that.

Yes, begging people to review. It's extremely important for independent artists. you get featured on certain platforms. The more reviews you get, the more they get featured. So definitely everyone who's seen it or is going to see it, go do that, please. But other than that, Seth, man, again, I can't stress how much you up the Annie every project you do. This one really blew me, like, blew me away in terms of the quality of it.

And the stories themselves were just incredible. So I got to thank you, brother, for keeping Mothman alive, keeping the legacy going, and for everything you do, my man. and of course for joining us on Somewhere in the Skies. Yeah, thanks for having me, man. Somewhere in the Skies is produced by Third Kind Productions in association with the Entertainment One Podcast Network. Hey guys, Ryan dropping in to tell you all about one of my favorite podcasts.

And that is Hysteria 51. Hysteria 51 is an exceptionally researched and hilarious weekly podcast that takes an every man approach to the world of the weird. Bigfoot, alien abduction, hauntings, M.K. Ultra, Tesla, the Mothman, and so, so much more. Join hosts John Goforth, Brent Hand, and Conspiracy Bot, a cranky robot bent on world domination, who also happens to be the show's head researcher, as they examine a different topic each week. And generally come to one conclusion. The truth is out there, but you're not going to find it here.

If you love the weird world we live in, get ready to love Hysteria 51. You can find Hysteria 51 wherever you get your podcast.