Chris Conidis Artist, Author, Screenwriter
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.
Writer and former artist, Chris Conidis is back at it, in the latest work-in-progress, “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.
Introducing Progress City – A Satirical Journey Through Our Obsession with "Advancement"
This sprawling parody of futurism and modern life peels back the layers of our societal quirks, from our earliest beginnings to the complex dilemmas of today.
*Progress City* invites us to reflect on what it really means to move forward—and at what cost.
Check out the official press release for more insights into the inspiration behind this project: [Read here)
Let me know what you think about this satirical dive into the future and our present!
https://www.crunchbase.com/person/chris-conidis-adaa
#ProgressCity #Satire #Futurism #SocialCommentary #ChrisConidis
Chris Conidis: The Time-Traveling Master of Mediocrity
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Chris Conidis sprinkles in some historical trivia, and tears apart pop culture like a kid with a piñata. Ever wonder what it takes to be an expert in absolutely nothing? Look no further. Known for his ability to leave no trace in the annals of history, He is a distinguished master of “meh.” While some aim for fame, he is content on being the unsung hero of mediocre pursuits, championing the art of sarcastic observation and the pursuit of temperate achievements.He’s not here to change the world…He is just here to rearrange the deck chairs while the ship goes down...
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Born in the depths of prehistoric humanity—probably while someone was inventing the wheel—Conidis started his career as a caveman, slowly chiseling away at rocks and cracking his first sarcastic comment. Back then, there were no influencers, just basic survival and the occasional woolly mammoth scare. Conidis was ahead of his time, the original social media pioneer—drawing stick figures on cave walls to the disinterest of any Neanderthal within a 10-mile radius. No followers, no problem.
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As time ticked on and human history fumbled its way forward, Conidis stayed in the mix, dodging plagues, bad haircuts, and even worse fashion trends (seriously, tunics?) with the same finesse he now uses to avoid online trolls. While everyone else was busy building empires, he was busy telling Socrates, “Hey, man, why not take a break and just chill? You’re overthinking this whole philosophy thing.” Of course, his toga party ideas didn't exactly take off, and his critique of democracy was something like: “Yeah, democracy... or should I say, Demo-Crazy?”
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Conidis gave the Egyptians a hand in designing the pyramids, suggesting, “Have you thought about making them triangle-shaped? I mean, it’s just an idea.” Fast forward to the Dark Ages—Conidis was there too, trying to make fire jokes, but the crowd just wasn’t ready. #TooSoon.
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Then came the Renaissance—oh, what a time to be alive! Conidis was rubbing elbows with Da Vinci, telling him, “Ever thought about, like, flying or something?” and witnessing revolutions unfold, many of which he considered “way too dramatic.” He dodged cannonballs in the French Revolution like it was no big deal and spent a good amount of time roasting Napoleon’s height—"You're really that short in person?" Classic Conidis.
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And then, just when you thought the madness couldn’t get any worse... enter the modern era. Selfies, hashtags, and TikTok dances. Conidis, still sporting a confused look from the previous century, couldn’t believe it. “Wait, so we went from inventing fire to lip-syncing to pop songs on a tiny screen? How did I miss that memo?” he wondered aloud.
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Today, he spends his days in utter bewilderment, watching humanity become obsessed with filters, likes, and viral nonsense. "Cave paintings at least had some culture," he quips. A seasoned time traveler, Conidis is still trying to figure out how the human race went from inventing the wheel to... unboxing videos. Through it all, Conidis remains a witness to the spectacle—armed with sarcasm sharper than a medieval sword and a humor that has survived and roasted the ages.
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https://www.crunchbase.com/person/chris-conidis-adaa
https://www.chrisconidisflorida.com/
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The Ballad of Elias Grange and Victor Bellows: A Tale of Two Dueling Souls
The Eternal Duel
Chris Conidis
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In the town of Ashwillow, nestled beneath a perpetually amber sky, two men named Elias Grange and Victor Bellows lived as sworn enemies. Their feud was so storied that it etched its way into the very bark of the town's old oaks, twisting them into writhing shapes that seemed to hiss their names in the wind. The origin of their hatred was long forgotten—some said it began over a misplaced shovelful of dirt in a shared garden, others whispered it was the result of a single, cutting word at a town meeting. Whatever the cause, it metastasized until the two men became flames feeding on the oxygen of each other's ire.
Elias was the wind, blustering and howling, scattering seeds of discontent wherever he went. Victor was the stone, unyielding and cold, sinking beneath the surface of his anger but erupting in eruptions of volcanic rage. They battled in every conceivable way: building fences taller and taller to outdo each other, spreading rumors like plagues in the marketplace, and even sabotaging the other's rain barrels during dry summers.
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When Elias died one winter morning, the snow fell with a curious smirk, as though the town itself believed the feud had ended. But death only sharpened the edges of Victor's hatred. At Elias' funeral, Victor whispered, "Even in the ground, you’ll rot the wrong way."
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And so it was.
Within a week of Victor’s own passing, the townsfolk noticed strange happenings. Elias and Victor’s graves, planted side by side like seeds of discord, began shifting. The earth heaved and buckled, as though the two corpses were wrestling beneath the soil. On moonlit nights, muffled curses and the sound of fists colliding with bone echoed from the cemetery, sending stray dogs howling into the hills.
The first to see the full spectacle was Old Maggie, who had spent decades tending the graves. She swore to her dying day that Elias and Victor’s ghosts were visible in the mist, translucent fists flying, eyes blazing like coals of resentment. They fought over boundaries marked only by shadows, drawing lines in the fog that dissipated the moment they turned their backs.
"You’ll not have the last word!" Elias’ ghost bellowed one night, his form flickering like a guttering candle.
"I’ll carve it into your tombstone myself!" Victor spat back, his ectoplasm hardening into a blade that Elias swatted away with a spectral shovel.
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Their feud became a fixture in the town, as much a part of Ashwillow as the autumn leaves or the slow chime of the clocktower. Children dared one another to spend a night near the graves; poets came to witness the spectacle, calling it "a drama etched in the air."
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But the duel refused to conclude.
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Years passed. The cemetery grew overgrown, yet the fighting persisted. The men’s spirits, trapped in a loop of fury, began to change. Their outlines blurred until they became indistinguishable from the mist itself. Their shouts turned into the howling wind, their blows into the creaking of branches. They fused with the landscape, forever bound in their futile battle.
One evening, a young historian came to town, curious about the tale of Elias and Victor. She brought with her a notebook, her pen scratching furiously as she wandered through the cemetery. Finding the overgrown graves, she paused, listening to the faint murmurs of their eternal quarrel.
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“Why do they fight?” she asked aloud, her breath forming little clouds.
The wind, carrying a thousand whispers, responded: “To remember they once lived.”
The historian left, and the graves continued their slow dance of dissent, the earth grinding with the weight of their struggle. Their feud, stripped of purpose, had become a metaphor for all human folly—anger that outlasts reason, boundaries drawn on shifting sands, and battles waged long after the combatants have forgotten the prize.
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And so, Elias and Victor remain, part of the land now, eternal and unresolved. Ashwillow sleeps, but the wind sighs, the trees groan, and the world remembers: even death cannot bury the living rage of men.