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Welcome to the Official Chris Conidis Website.
Explore Chris Conidis’s latest short stories and screenplays.
Chris Conidis is a versatile artist, writer, author and performer celebrated for his inventive blend of improv comedy, horror, fantasy, parody, and satire. A proud UCB and City alumnus, he brings a sharp, distinctive voice to everything he creates, captivating audiences with his clever wit and imaginative storytelling.
Chris Conidis – Writer, Filmmaker, Improv Performer Official Website
Chris Conidis is a versatile writer, filmmaker, and improv performer with a career spanning over two decades. His work includes satire, social commentary, and dark humor, often exploring themes like societal critique, futurism, and absurdity.
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CHRIS CONIDIS
Storyteller, Creator, and Performer in St. Cloud, Florida

This July, I’m back coaching improv classes in Toronto. If you’ve already taken classes with me or RJ feel free to reach out and reconnect. New? Shoot me a DM—I’ll send you the sign-up info- thanks!
Check Out Medium Content here:

Your Foot Print Has Been Logged



Storytelling isn't fluff—it's fuel.
In CEOWORLD Magazine, Chris Conidis explores how great leaders use storytelling to inspire action, shape brand identity, and build lasting trust.
Your data needs a voice. That voice is your story.
Read now on CEOWORLD.biz:
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https://ceoworld.biz/2024/11/28/chris-conidis-how-does-storytelling-shape-success/#google_vignette
Chris Conidis: How Does Storytelling Shape Success?
#Leadership #ChrisConidis #Storytelling #BusinessStrategy #CEOWORLD #NarrativePower


The Mirror at the End of the Lane by Chris Conidis is a haunting tale that delves deep into the truths we often avoid. In the eerie town of Willowend, a mysterious mirror reflects not just faces but the unspoken secrets and moral cracks that define its inhabitants. Edgar Plumb, a young boy seeking a momentary escape, discovers just how far the mirror’s gaze reaches — and the unsettling truth about his own future.
This story explores the consequences of pretense and the uncomfortable reality that we all try to avoid. A perfect reminder of the importance of confronting our truths before they confront us.
Read the full story here: The Mirror at the End of the Lane
https://medium.com/@chris-conidis/chris-conidis-the-mirror-at-the-end-of-the-lane-c68a5ad96dd8


Genre: Horror / Dark Fantasy
A cycle of dark tales connected by objects, omens, and the strange forces that carry them across generations. Each story stands alone yet echoes another—woven by unseen hands and bound by fear, fate, and forgotten pacts. Gothic-modern in aesthetic, rich in mood and myth.
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Hitchcock: Master of suspense, but also the guy who made you question whether or not your mother actually loves you
Dark Comedy DNA: Why Satirists Owe a Drink to Hitchcock, Serling, and Chaplin.
I’ve been rewatching Hitchcock, not for suspense—but for stillness. For his intros as satire - there’s something about a man in a tight frame, doing absolutely nothing, that feels louder than screams. I’m chasing that tension in silence for my own projects lately. Still frames, breath between lines, paranoia with no soundtrack.
Read the articles
here and on Medium

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Chris Conidis Unveils “Progress City”: A Satirical Take on Futurism and Modern Life
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“Progress City,” a sharp satire that takes a deep, comical dive into society’s love affair with “progress.” This new project, a sprawling parody of futurism and modern life, unpacks humanity’s journey from the cave to today’s social dilemmas. With his trademark humor, Conidis pokes fun at how every era has imagined the future—often with more confidence than accuracy—and how these visions have both shaped and clashed with reality.
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In “Progress City,” Conidis explores humanity’s attempts at advancing, for better or worse, across a variety of eras, from our early ancestors’ first discovery of fire to the contemporary pursuit of “likes” and “followers.” He calls it “a humorous archaeological dig through the fossil record of our ambitions,” and each chapter pulls no punches. Rather than romanticizing humanity’s progress, Conidis tackles the myths and follies of each era with a critical, entertaining eye.
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“The funny thing about the future,” Conidis says, “is that every generation thinks they’re the first to figure it out. We’re not all that different from cavemen—we just swapped campfire storytelling for scrolling and status updates.” His approach is part critique, part stand-up comedy routine, and all satire, painting a portrait of human nature as it has evolved—technologically, if not always intellectually.
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In the spirit of Conidis’s previous works, “Progress City” doesn’t merely poke fun at the past and present; it asks readers to reflect on the direction we’re heading. “We’re in an age where tech rules our lives, but we still don’t know what to do with our hands when we take a photo,” he jokes. “Progress has made us smarter on paper, but when it comes to common sense, well… let’s just say it might still be in beta testing.” These observations reveal the hilarious contradictions between our advanced tools and the often unchanged human instincts that wield them.
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One central theme of “Progress City” is how humanity’s constant push for the “next big thing” sometimes results in absurdity. “Every few centuries, someone invents something that they swear will change the world—stone tools, steam engines, social media algorithms—and yet here we are, still figuring out how to get along.” Conidis believes that the project will resonate with audiences who can relate to the idea of progress that somehow always leaves us wanting more.
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He takes aim at today’s obsession with technology as well, particularly the ways we measure success and fulfillment in digital terms. “In caveman days, your status symbol was the biggest piece of mammoth meat. Today, it’s your follower count. Either way, it’s about who’s got the biggest… following,” he quips. “Progress City” explores how these primitive instincts have evolved—or haven’t—despite our sophisticated new toys.
Conidis’s audience will find that “Progress City” is as much a mirror as it is a comedy. By setting today’s achievements alongside the feats of ancient societies, he paints a comedic picture of the ways we repeat old patterns even as we think we’re blazing new trails. “If we’re so futuristic, why do we still find ourselves in traffic jams?” he jokes. “If the cavemen could see us now, they’d probably just laugh.”
Chris Conidis continues to delight audiences by dissecting society’s quirks with a refreshing sense of humor, proving that comedy can be a powerful tool for reflection. “Progress City” promises to be an enlightening, entertaining journey through the timeline of human aspirations, inviting readers to laugh at how much we’ve changed—and how much we haven’t.
Death: The Ultimate Two-for-One Deal
Chris Conidis
In the grand bazaar of existence, amidst the relentless haggling of life’s endless marketplace, Death had always been something of an enigma. But as the years went by, it became increasingly apparent that Death—that dark, shadowy figure we all love to fear and pretend to understand—was, in fact, just another one of life’s great paradoxes. A cosmic joke, if you will. It turns out that Death, much like a particularly needy reality TV star, demanded constant attention and yet, in its true essence, was just as obsessed with life as life was with it.
Yes, folks, welcome to Death: The Ultimate Two-for-One Deal.
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It began, as most misunderstandings do, with the simple fact that for all our religious teachings, philosophy books, and horror movies, no one really knew what the hell Death was. Some called it “final,” others referred to it as “the great equalizer.” But let’s be honest—nobody ever really understood it. It was like trying to explain the concept of Wi-Fi to a hamster.
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But let’s backtrack to the beginning, when people started noticing something odd: Life and Death, despite being polar opposites, were frequently spotted hanging out at the same party. For a while, Life was the star of the show, of course. It had all the pizzazz—the glittering lights, the beautiful people, the excitement, the promise of new experiences. Death, on the other hand, was the grumpy guest no one wanted to sit next to, lurking in the corner, wearing all black, throwing unsolicited existential thoughts into the mix.
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But here’s where the plot thickens: over the course of eons, Life began to notice something incredibly distressing—without Death, Life was… well, a bit of a mess. It was like a buffet with no end date. All-you-can-eat without the “closing time” reminder that you might want to stop eating before the food starts to look a little… unappetizing. Life, it turned out, needed Death. It was as if Life had bought an all-inclusive vacation package, but the “Death clause” was hidden in the fine print.
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But why did Life need Death? Well, as any casual observer can tell you, Life, in its undying quest for more—more experiences, more stuff, more moments—tends to get, well, a bit carried away. Life can be quite a drama queen in that sense, pushing the limits of time and space like a toddler throwing a tantrum in the toy store. And in the absence of Death, Life would’ve kept throwing tantrums forever. Can you imagine an infinite number of new movies, TV shows, video games, and online influencers? The horror.
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Thus, Death—ever the misunderstood underdog—stepped in as the much-needed intervention. Death was the cosmic “off” switch. The firm but loving parent who knows when it’s time to put away the iPad. With Death around, Life got to be life without becoming an incessant, unmanageable noise machine.
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Now, you may ask, “How could Death also be Life? Isn’t that a contradiction?” Well, dear reader, here’s where things get even more confusing—Life and Death were in a constant, symbiotic relationship. They were like peanut butter and jelly, except instead of bread, you had a massive universe filled with stars, planets, and the occasional space-time anomaly.
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Consider this: Death’s sole job, according to the universal contract, was to make sure Life didn’t go on forever—because let’s face it, an eternal life would be like the longest, most tedious email chain. And you know no one would ever reply to those.
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But while Death was clearing the cosmic inbox, Life would stir and dance, its very essence created in response to the inevitable tick-tock of Death’s clock. Without Death, Life would be nothing but an empty room, echoing with the sound of unfulfilled potential and unfinished TikToks. Think of it as a reality show where the finale is postponed forever—no one wants to keep watching that.
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And just when you think Death is being too harsh, it reminds you that the beauty of Life is often framed by its fleeting nature. How do we appreciate a sunset without the knowledge that it will eventually disappear beneath the horizon? How can we relish in the thrill of a first kiss without the shadow of its potential end hanging over us?
This, of course, led to an existential conundrum of the highest order: If Death was essential to Life, could Life exist without Death? In Progress City, where every machine ran on efficiency and every concept had a TED talk, the answer was clear—Life needed to be aware of Death to function properly. Without that awareness, Life would have no direction. It would simply go on, endlessly, like a broken record—repeating itself in the most mundane, soul-crushing way imaginable. And that, friends, is not the kind of Life you want to sign up for.
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But here’s the kicker—Life, in its inherent stubbornness, didn’t want to admit it needed Death. Much like a teenager pretending they didn’t need their parents’ advice, Life kept trying to outsmart Death, believing that if it just kept growing, expanding, and multiplying enough, it could escape the inevitable. It would create infinite stories, endless experiences, a world of unlimited growth. But no matter how many new stories Life spun, there was always that cosmic voice in the back of its head, saying: “Don’t get too comfortable. Death is just around the corner, ready to sweep you off your feet.”
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And so, they danced together—Life and Death, in a waltz as old as time itself—always intertwined, always needing the other to play its role. They were both the problem and the solution, the challenge and the remedy. Life was chaotic, messy, and ever-expanding; Death was inevitable, quiet, and quietly elegant in its simplicity. And together, they made sure that the universe kept spinning—like a cosmic carousel of joy and sorrow, love and loss, beginnings and endings.
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So, in the grand scheme of things, we find ourselves once again face-to-face with the truth. Life and Death aren’t opposites. They are partners in crime, each pushing the other to make the most of what we have. Death gives life meaning by drawing a boundary around it, just as life, in turn, fills Death with purpose.
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After all, if it weren’t for Death, Life would just be a never-ending cycle of attempts to find the perfect avocado. And let’s face it—that’s not a life anyone wants to live.