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Welcome to the Official Chris Conidis Website.
Explore Chris Conidis’s latest short stories and screenplays.
"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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Check Out Medium Content here:
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!
CHRIS CONIDIS
Storyteller, Creator, and Performer in St. Cloud, Florida
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.
UCB Exclusive Interview: Chris Conidis on the Future of Entertainment
CB: Welcome, Chris Conidis! You’ve been described as a visionary in redefining the boundaries of improv. Tell us, what sparked your passion for reimagining live theater?
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Chris Conidis: Thanks for having me! My passion stems from a lifelong fascination with storytelling—especially live storytelling. I’ve always felt that there’s something primal and irreplaceable about a shared theatrical experience. But over time, I noticed that many live performances weren’t living up to their potential. They lacked the innovation and emotional resonance needed to stand out in today’s world. That’s when I realized: why not combine the visceral power of live theater with the cutting-edge techniques we see in themed entertainment?
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UCB: Fascinating! Let’s dive into this fusion of artistry and technology. How do animatronics, environmental effects, and other tools serve your vision?
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Chris Conidis: Great question. These tools are essentially extensions of storytelling. Take animatronics, for instance—they allow us to create characters and experiences that traditional actors simply can’t portray. Imagine a mythical creature that breathes, snarls, and interacts with the audience in ways that feel alive. Environmental effects—like the subtle rumble of the earth beneath your feet or the scent of an ancient forest—immerse audiences so deeply that they forget they’re in a theater.
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But all of these elements are in service to one thing: the story. If the narrative doesn’t work, all the tech in the world won’t matter.
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UCB: Speaking of stories, your upcoming projects like The Magician’s Code and Toolmaker sound groundbreaking. Can you share what sets them apart from traditional theater productions?
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Chris Conidis: Absolutely. These aren’t just plays; they’re events. The Magician’s Code, for example, examines our obsession with spectacle over substance. It uses illusions to make the audience question what’s real—while reflecting on our collective disillusionment with the world.
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Toolmaker, on the other hand, dives into humanity’s relationship with creation and technology. It features live puppetry and animatronics, pushing the boundaries of what’s possible on stage. These stories are designed to astonish, but also to provoke thought. The audience leaves not just entertained, but transformed.
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UCB: You mentioned the Spectatorium as an inspiration. How does that concept influence your work?
Chris Conidis: The Spectatorium was a 19th-century dream—a theater where storytelling, music, and immersive environments converged. It was ahead of its time and never fully realized, but its ambition resonates with me. My vision is to take that dream and make it a reality for the 21st century.
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Imagine walking into a venue where the architecture itself tells part of the story. You’re not just watching a show; you’re living inside it. That’s the legacy of the Spectatorium I want to bring to life.
UCB: Let’s talk about the future of live theater. With so much digital content dominating our lives, why do you believe live experiences still matter?
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Chris Conidis: Because there’s nothing like it. Live theater offers something screens never can: presence. It’s about sharing a moment that will never happen the same way again. When you’re in a theater, holding your breath alongside hundreds of others, that collective awe creates a kind of magic no algorithm can replicate.
But for theater to stay relevant, it has to evolve. We can’t rely on nostalgia. By blending classic techniques with modern tools, we can create something fresh—something that reminds audiences why live performance is irreplaceable.
UCB: What’s the biggest challenge in realizing this vision?
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Chris Conidis: Balancing innovation with practicality. Cutting-edge effects and animatronics are expensive, and it’s easy to let the tech overshadow the narrative. Staying true to the story while pushing the envelope requires constant discipline.
Then there’s the challenge of convincing people that live theater can compete with—or even surpass—what they’re used to seeing on their screens. That’s why every production I create aims to leave audiences saying, “I’ve never seen anything like that before.”
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UCB: Final question, Chris Conidis: What’s your ultimate goal with this new wave of live entertainment?
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Chris Conidis: To reignite wonder. We live in a time where cynicism and distraction rule. I want to create spaces where imagination thrives, where the impossible feels possible, and where audiences walk away feeling inspired and alive.
The future of entertainment isn’t about pixels; it’s about people. It’s about shared gasps, collective awe, and moments that stay with you forever. If I can give audiences that—just for a few hours—I’ll have done my job.
UCB: That’s an inspiring vision, Chris Conidis. Thank you for sharing it with us!
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Chris Conidis: Thank you! It’s been a pleasure. Let’s make magic happen.