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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:

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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.
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.