Killer Chic - Aaron Mahnke's Cabinet of Curiosities

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Transcript11 lines

[00:00]
BetterHelp Advertiser
This is an iHeart podcast.
[00:02]
Amazon Health AI Advertiser
Guaranteed Human Amazon Health AI presents painful
[00:08]
Erin Menke
thoughts why did I search the Internet for answers to my cold sore problem? Now I'm stuck down a rabbit hole filled with images of alarmingly graphic sores in various stages of ooze. I can clear my search history, but I can never unsee that.
[00:27]
Amazon Health AI Advertiser
Don't go down the rabbit hole. Amazon Health AI gets you the right care fast. Healthcare just got less painful.
[00:39]
Erin Menke
Welcome to Erin Menke's Cabinet of Curiosities, a production of iHeartRadio and Grim and Mild.
[00:47]
Aaron Manke
Our world is full of the unexplainable, and if history is an open book, our all of these amazing tales are right there on display, just waiting for us to explore. Welcome to the Cabinet of Curiosities. Throughout history, the pursuit of beauty has often come at a steep price. Modern day fad diets and cosmetic surgeries can very literally make people sick, and they pale in comparison to what previous generations went through in the name of aesthetic perfection. The 19th century was particularly terrible for killer fashion. A number of trends actively poisoned, suffocated or burned their wearers. Lead and radium laced face creams attempted to smooth the skin while sickening the user. Tapeworms and belladonna were used for weight loss or brighter eyes. Clothing was no different too, from toxic dyes to structural designs that restricted breathing. Killer fashions of the Victorian era reveal a period where beauty standards frequently overrode basic human safety. And the most pervasive killer in the Victorian wardrobe was arsenic. During the mid-1800s, the desire for vibrant emerald green fabric for dresses led to widespread use of Paris Green, an arsenic based pale pigment. Bodices dyed with this chemical were not merely dangerous to the wearer, but became mobile sources of toxicity. The dye would leach onto the skin and release toxic vapors as the wearer danced and sweated in the heat of crowded ballrooms, gently poisoning anyone standing nearby. There are accounts suggesting that a woman wearing such a gown could accidentally poison patrons across half a dozen different ballrooms simply by moving through them. But it wasn't just the poison that could prove fatal. The construction of some clothing posed fatal risks through restriction. One of the most notorious examples was the Father Killer collar, a high, stiff neckpiece that encircled the throat so tightly it could cause strangulation. And as you might imagine, the name came from a grim reality. If a person wearing one turned their head quickly or leaned back, the collar could compress the trachea, choking them more insidiously. Though tight lacing of corsets could reduce a woman's waistline by more than 6 inches if laced properly. It also compressed internal organs, shifting the stomach and liver downward in the body and restricted lung capacity, leading to fainting spells and in extreme cases, asphyxiation. But another killer among the garments was fire. Massive skirts and flammable fabrics like tulle and cotton were immensely popular in the 19th century, making well dressed women into tinder boxes just waiting for a spark. The wide hoop skirts that were in fashion were particularly susceptible to ignition when brushed against fireplaces or candles. Unlike tighter fitting clothes worn by men, these flowing dresses could catch fire instantly, leading to horrific burns that were often fatal before medical help could arrive. The flammability was exacerbated by chemicals that were used to treat the fabrics for sheen and stiffness, turning a simple walk past a fireplace into a potential death sentence. And the use of mercury in hat making was also widespread, and its effects became so notorious that it inspired the Mad Hatter in Alice in Wonderland. The real life Mad Hatter condition, illustrated whimsically by Lewis Carroll's story, was in reality a debilitating neurotoxic disease which caused tremors, delirium and hallucinations, as well as a host of other physical and psychological side effects. All of this highlights a period where dress value is measured in its ability to confer status. Definitely not safety. Modern regulations have largely eliminated the most egregious dangers of arsenic dyes and lead cosmetics, but dangerous fashion trends still persistent, echoing across social media and the modern beauty industry. The ghosts of all those arsenic dyed ballrooms and burning crinoline may be a product of yesteryear, but they still haunt us in all of our impossible and occasionally dangerous beauty standards. So here's to hoping that in the future we choose our health over clean lines and skin without a blemish. After all, beauty means nothing if you're not around to appreciate it. This episode was sponsored by BetterHelp. You've heard me talk about BetterHelp for a long time, but I don't know that we've ever actually talked about how much people love this service when they use it. You can check it out yourself over@betterhelp.com reviews to see amazing customer reviews in real time. The reviews are updated every day with hundreds of people saying how much they love BetterHelp and how helpful it's been to them. Please visit betterhelp.com reviews to see for yourself. BetterHelp has an average live therapy session rating of 4.9 out of 5 based on over 1.7 million client session reviews. The feedback from people who have actually used the service speaks for itself. More than 6 million people have used BetterHelp globally. That constant feedback from real users makes it easy to see why so many people continue to choose BetterHelp, and BetterHelp makes it easy to get started. Just answer a few questions, get matched with a therapist based on your needs, and switch therapists at any time. If it's not the right fit, see the reviews, see what stands out, and see if BetterHelp is right for you. Visit betterhelp.com curiosities that's betterhelp.com curiosities Amazon
[06:38]
Amazon Health AI Advertiser
Health AI presents Painful Thoughts I I
[06:44]
Aaron Manke
can't stop scratching my downtown. Yeah, but I'm not itching to go downtown and tell a receptionist I'm here to talk about my downtown. Some things you'd rather type than say out loud.
[06:57]
Amazon Health AI Advertiser
There's no question too embarrassing for Amazon Health AI. Chat your symptoms and get virtual care 24. 7 Healthcare just got less painful.
[07:14]
Aaron Manke
Streaming television and films has severely impacted theater audiences, and film executives are looking for any way to get audiences back. So when a small independent film makes more money than a big budget Hollywood one, executives sit up and pay attention. Recently, horror Films made by YouTubers are outgrossing major studio films, leading executives to hire more YouTubers to direct them. But this isn't the first time that this pattern has played out in Hollywood history. In the 1950s, the arrival of television hurt theater attendance, just as streaming has today. So in 1952, when the Independent film Guana Devil was a huge success, the studios all wanted to know why. And it turns out it was using a newfangled technology known as 3D. All of the studios scrambled to adopt this new technology, and just like the YouTuber hiring craze of today, 3D became all the rage. Warner Bros. Became the first major studio to get a 3D film into production. Entitled House of Wax, it was actually a remake of a horror movie about a killer who encases his victims in wax. And to make it, they hired Hungarian born director Andre Detof, based on his reputation from a series of successful westerns he had made. What they didn't stop to consider was that he only had one eye, and a person needs two eyes to see in 3D. The movie was far too long into production before anyone realized this, though. Jack Warner, the head of the studio, didn't want to replace Andre, so instead he told him not to wear his distinctive black eye patch on set. At the very least, he didn't want anyone from the press to see it and publish a hit piece about how Warner Bros. Had hired a one eyed man to direct a 3D movie. Little did Jack know though, he had actually hired the perfect person. You see, as I mentioned, Andre de Toth was born in Hungary and he lived there for many years. During the Nazi occupation, he was forced to use his skills in cinematography to film Nazi marches. A lot of his skills were therefore developed in the moment and on the job filming elaborate, complex set pieces. Or to put it another way, filming real life Nazis was pretty good practice for filming a horror movie. Andre knew how to show the audience where to look and when and how to make them care about what was happening on screen. Ironically, these were more important qualities in directing a 3D movie than actually being able to see one. If a 3D shot isn't lit or framed correctly, objects in the foreground that aren't meant to pop out will distracting the viewer from whatever the director intended them to look at. And if the audience simply doesn't care care what's happening in the movie, then they won't be excited by something popping out at them. But Andre made sure that House of Wax was as spooky as possible. He hired a great classic horror leading man named Vincent Price, and you've heard his voice on thriller by Michael Jackson, and he put him in some truly disturbing makeup. The story of House of Wax follows a wax sculptor whose studio burns down, disfiguring him and destroying, destroying his life's work. Price's disfiguring makeup was so good that he was forbidden from eating at the studio commissary because he was grossing everyone out. Price's performance meant that the audience cared about the story. And Andre's cinematography, with heavy shadows and jump scares, kept them immersed and afraid. All of the heads and arms and fists that were jumping out of the screen were therefore very effective. Most infamously, Andre actually created a real massive fire to depict the wax museum burning down. He had his team light one figure on fire at a time so they could get a close up of each one burning. But they kept the fires going and then pulled the camera back to show the whole museum was on fire. Effects specialists awaited off camera, dousing any fire that spread beyond the stage. The only problem they encountered was that the fire rose so high it burned a hole in the soundstage ceiling. A shaft of blue light trickled down onto the scene and and it's visible in some of the shots in the movie. That wasn't too much of a problem though. But Vincent Price's eyebrows being singed off was a little more realism than Andre planned for. Luckily, those could always be drawn back on. The film was a huge hit with audiences and is still considered one of the best 3D movies ever made. And all it took was a one eyed filmmaker who was more curious about craft than gimmicks to make it jump off the screen. I hope you enjoyed today's guided tour through the Cabinet of Curiosities. This show was created by me, Aaron Manke, in partnership with iHeart Podcasts, researched and written by the Grim and Mild team and produced by Jesse Funk. Learn more about the show and the people who make it over@grimandmild.com curiosities. You'll also find a link to the official Cabinet of Curiosities hardcover book available in bookstores and online, as well as ebook and audiobook. And if you're looking for an ad free option, consider joining our Patreon it's all the same stories but without the interruption for a small monthly fee. Learn more and sign up over@patreon.com grimandmild and until next time, stay curious
[12:40]
BetterHelp Advertiser
A Better Help Ad One of the hardest parts about starting therapy not knowing what to expect if you've never tried it before, it's natural to wonder whether therapy is right for you or if you'll find someone you connect with. But instead of listening to an ad, explore the stories of real people who've actually benefited from therapy. Visit betterhelp.com reviews to see the experiences of real BetterHelp clients and learn more about how finding the right therapist can change everything. BetterHelp has an average life therapy session rating of 4.9 out of 5 based on more than 1.7 million client session reviews. It's a simple way to see why so many people continue choosing BetterHelp when you're ready. BetterHelp makes getting started easy. Answer a few questions, match with a therapist based on your needs, and if it's not the right fit, you can switch therapists at any time. Insurance options may be available through select health plans. See the reviews, see what stands out, and see if BetterHelp is right for you. Visit betterhelp.com for 10% off. That's betterhelp.com this is an iHeart podcast. Guaranteed Human.

Summary5 min read

Aaron Mahnke’s Cabinet of Curiosities – Episode: “Killer Chic” (August 11, 2026)
Podcast by iHeartPodcasts and Grim & Mild

Episode Overview

In “Killer Chic,” Aaron Mahnke delves into two unsettling tales from history exploring how the pursuit of beauty and entertainment can sometimes come with deadly consequences. The first half investigates the fatal price of fashion during the Victorian era, where beauty standards were so extreme they often endangered lives. The second half tells the surprising story of how one of cinema’s best 3D horror films was directed by a one-eyed filmmaker—illustrating that curiosity and craft, rather than gimmicks, make art truly memorable.

Tale 1: Deadly Victorian Fashion (“Killer Chic”)

[00:47 – 06:38]

Key Points & Discussion

Fashion as a Lethal Obsession: Mahnke underscores that the 19th century saw beauty and status valued above safety, with fashion trends that posed real threats to wearers’ health.
- “Throughout history, the pursuit of beauty has often come at a steep price.” (00:47)
Toxic Cosmetics and Clothing:
- Arsenic and “Paris Green”: During the Victorian era, arsenic-based dyes (notably “Paris Green”) gave dresses their vibrant emerald green color. The dye could leach through the skin and poison not just the wearer but also anyone nearby.
  - “There are accounts suggesting that a woman wearing such a gown could accidentally poison patrons across half a dozen different ballrooms...” (01:59)
- Structural Hazards:
  - Father Killer Collars: High, stiff collars (for men) could strangle the wearer if they moved too quickly.
    - “The Father Killer collar... could cause strangulation.” (02:34)
  - Tight-Laced Corsets: Could reduce a waist by six inches, shifting organs and causing health issues or asphyxiation.
- Fire Hazards:
  - Expansive crinolines and flammable fabrics like tulle and cotton turned women into “tinder boxes.” These could catch fire near fireplaces or candles, resulting in fatal burns.
    - “A simple walk past a fireplace [became] a potential death sentence.” (04:10)
- Mercury in Hats: “Mad Hatter Disease” resulted from mercury use in hat-making, inspiring Lewis Carroll’s character. Symptoms included tremors and hallucinations.
  - “The real-life Mad Hatter condition... was in reality a debilitating neurotoxic disease.” (05:11)
Broader Implications:
- Fashion’s dangers were a reflection of values: “Dress value was measured in its ability to confer status, definitely not safety.” (05:53)
- The story ends by drawing parallels to modern beauty trends and the lingering dangers of prioritizing appearance over wellbeing.

Notable Quotes

“The ghosts of all those arsenic dyed ballrooms and burning crinoline may be a product of yesteryear, but they still haunt us in all of our impossible and occasionally dangerous beauty standards.” – Aaron Mahnke (06:22)
“Beauty means nothing if you’re not around to appreciate it.” – Aaron Mahnke (06:33)

Tale 2: The One-Eyed Director and the Rise of 3D Horror (“House of Wax”)

[07:14 – 12:39]

Key Points & Discussion

Historical Parallels in Entertainment: Mahnke draws a connection between today’s streaming landscape and the 1950s, when television threatened movie theater audiences.
- “Streaming television and films has severely impacted theater audiences... but this isn’t the first time that this pattern has played out.” (07:14)
The 3D Movie Boom:
- In 1952, the indie film “Bwana Devil” succeeded by using 3D, prompting major studios to scramble for similar spectacles.
- Warner Bros. made “House of Wax,” directed by Hungarian filmmaker André de Toth, who, ironically, had only one eye and could not experience 3D himself.
  - “They hired Hungarian-born director André de Toth… what they didn’t stop to consider was that he only had one eye, and a person needs two eyes to see in 3D.” (08:28)
- The studio’s head, Jack Warner, asked de Toth not to wear his black eyepatch in public to avoid ridicule.
Qualities Beyond Gimmicks:
- De Toth’s skill in directing large, elaborate scenes—honed while filming Nazi marches under duress—made him perfect for the job. His grasp of cinematic storytelling outweighed his inability to see 3D effects.
  - “Ironically, these were more important qualities in directing a 3D movie than actually being able to see one.” (09:38)
Production Anecdotes:
- The director created genuinely massive fires for the film’s key scene. The set caught fire so intensely it burned a hole in the ceiling, and lead actor Vincent Price’s eyebrows were singed off.
  - “Vincent Price’s eyebrows being singed off was a little more realism than André planned for. Luckily, those could always be drawn back on.” (11:59)
- Price’s disfiguring makeup was so grisly he was banned from the studio cafeteria.
Legacy:
- “House of Wax” remains one of the most acclaimed 3D films. Mahnke concludes that technical knowledge and narrative vision matter more than gimmickry.

Notable Quotes

“A one-eyed filmmaker who was more curious about craft than gimmicks... made it jump off the screen.” – Aaron Mahnke (12:24)
“If the audience simply doesn’t care what’s happening in the movie, then they won’t be excited by something popping out at them.” – Aaron Mahnke (10:11)

Memorable Moments & Timestamps

[01:59] – Women unintentionally poisoning entire ballrooms with their arsenic-dyed gowns.
[04:10] – Description of women’s flammable dresses turning ballrooms into fire hazards.
[05:11] – The real “Mad Hatter” disease and its impact on hat-makers.
[08:28] – The reveal that director André de Toth couldn’t see 3D.
[11:59] – Vincent Price’s makeup mishap and the singed eyebrows.

Tone & Style

Mahnke’s narration is atmospheric, wry, and steeped in historical intrigue, blending macabre details with a curious, dry humor. He juxtaposes the bizarre with the universal pursuit of status or spectacle, urging listeners to reconsider modern parallels.

Final Thoughts

Through two tales––the dark side of Victorian beauty and the irony-laden triumph of a one-eyed 3D film director––this episode of “Cabinet of Curiosities” artfully illustrates how far people will go for fashion or fame, often at the expense of their own wellbeing. Mahnke closes with a hopeful reminder to value health over hazardous trends and to appreciate the curious stories history has to offer.

Useful For:
Anyone interested in hidden or bizarre historical tales, the dark side of fashion and film history, and the strange ways curiosity can influence culture.

Notable Quote to Remember:
“Beauty means nothing if you’re not around to appreciate it.” (06:33)

Loading summary

Transcript11 lines

[00:00]
BetterHelp Advertiser
This is an iHeart podcast.
[00:02]
Amazon Health AI Advertiser
Guaranteed Human Amazon Health AI presents painful
[00:08]
Erin Menke
thoughts why did I search the Internet for answers to my cold sore problem? Now I'm stuck down a rabbit hole filled with images of alarmingly graphic sores in various stages of ooze. I can clear my search history, but I can never unsee that.
[00:27]
Amazon Health AI Advertiser
Don't go down the rabbit hole. Amazon Health AI gets you the right care fast. Healthcare just got less painful.
[00:39]
Erin Menke
Welcome to Erin Menke's Cabinet of Curiosities, a production of iHeartRadio and Grim and Mild.
[00:47]
Aaron Manke
Our world is full of the unexplainable, and if history is an open book, our all of these amazing tales are right there on display, just waiting for us to explore. Welcome to the Cabinet of Curiosities. Throughout history, the pursuit of beauty has often come at a steep price. Modern day fad diets and cosmetic surgeries can very literally make people sick, and they pale in comparison to what previous generations went through in the name of aesthetic perfection. The 19th century was particularly terrible for killer fashion. A number of trends actively poisoned, suffocated or burned their wearers. Lead and radium laced face creams attempted to smooth the skin while sickening the user. Tapeworms and belladonna were used for weight loss or brighter eyes. Clothing was no different too, from toxic dyes to structural designs that restricted breathing. Killer fashions of the Victorian era reveal a period where beauty standards frequently overrode basic human safety. And the most pervasive killer in the Victorian wardrobe was arsenic. During the mid-1800s, the desire for vibrant emerald green fabric for dresses led to widespread use of Paris Green, an arsenic based pale pigment. Bodices dyed with this chemical were not merely dangerous to the wearer, but became mobile sources of toxicity. The dye would leach onto the skin and release toxic vapors as the wearer danced and sweated in the heat of crowded ballrooms, gently poisoning anyone standing nearby. There are accounts suggesting that a woman wearing such a gown could accidentally poison patrons across half a dozen different ballrooms simply by moving through them. But it wasn't just the poison that could prove fatal. The construction of some clothing posed fatal risks through restriction. One of the most notorious examples was the Father Killer collar, a high, stiff neckpiece that encircled the throat so tightly it could cause strangulation. And as you might imagine, the name came from a grim reality. If a person wearing one turned their head quickly or leaned back, the collar could compress the trachea, choking them more insidiously. Though tight lacing of corsets could reduce a woman's waistline by more than 6 inches if laced properly. It also compressed internal organs, shifting the stomach and liver downward in the body and restricted lung capacity, leading to fainting spells and in extreme cases, asphyxiation. But another killer among the garments was fire. Massive skirts and flammable fabrics like tulle and cotton were immensely popular in the 19th century, making well dressed women into tinder boxes just waiting for a spark. The wide hoop skirts that were in fashion were particularly susceptible to ignition when brushed against fireplaces or candles. Unlike tighter fitting clothes worn by men, these flowing dresses could catch fire instantly, leading to horrific burns that were often fatal before medical help could arrive. The flammability was exacerbated by chemicals that were used to treat the fabrics for sheen and stiffness, turning a simple walk past a fireplace into a potential death sentence. And the use of mercury in hat making was also widespread, and its effects became so notorious that it inspired the Mad Hatter in Alice in Wonderland. The real life Mad Hatter condition, illustrated whimsically by Lewis Carroll's story, was in reality a debilitating neurotoxic disease which caused tremors, delirium and hallucinations, as well as a host of other physical and psychological side effects. All of this highlights a period where dress value is measured in its ability to confer status. Definitely not safety. Modern regulations have largely eliminated the most egregious dangers of arsenic dyes and lead cosmetics, but dangerous fashion trends still persistent, echoing across social media and the modern beauty industry. The ghosts of all those arsenic dyed ballrooms and burning crinoline may be a product of yesteryear, but they still haunt us in all of our impossible and occasionally dangerous beauty standards. So here's to hoping that in the future we choose our health over clean lines and skin without a blemish. After all, beauty means nothing if you're not around to appreciate it. This episode was sponsored by BetterHelp. You've heard me talk about BetterHelp for a long time, but I don't know that we've ever actually talked about how much people love this service when they use it. You can check it out yourself over@betterhelp.com reviews to see amazing customer reviews in real time. The reviews are updated every day with hundreds of people saying how much they love BetterHelp and how helpful it's been to them. Please visit betterhelp.com reviews to see for yourself. BetterHelp has an average live therapy session rating of 4.9 out of 5 based on over 1.7 million client session reviews. The feedback from people who have actually used the service speaks for itself. More than 6 million people have used BetterHelp globally. That constant feedback from real users makes it easy to see why so many people continue to choose BetterHelp, and BetterHelp makes it easy to get started. Just answer a few questions, get matched with a therapist based on your needs, and switch therapists at any time. If it's not the right fit, see the reviews, see what stands out, and see if BetterHelp is right for you. Visit betterhelp.com curiosities that's betterhelp.com curiosities Amazon
[06:38]
Amazon Health AI Advertiser
Health AI presents Painful Thoughts I I
[06:44]
Aaron Manke
can't stop scratching my downtown. Yeah, but I'm not itching to go downtown and tell a receptionist I'm here to talk about my downtown. Some things you'd rather type than say out loud.
[06:57]
Amazon Health AI Advertiser
There's no question too embarrassing for Amazon Health AI. Chat your symptoms and get virtual care 24. 7 Healthcare just got less painful.
[07:14]
Aaron Manke
Streaming television and films has severely impacted theater audiences, and film executives are looking for any way to get audiences back. So when a small independent film makes more money than a big budget Hollywood one, executives sit up and pay attention. Recently, horror Films made by YouTubers are outgrossing major studio films, leading executives to hire more YouTubers to direct them. But this isn't the first time that this pattern has played out in Hollywood history. In the 1950s, the arrival of television hurt theater attendance, just as streaming has today. So in 1952, when the Independent film Guana Devil was a huge success, the studios all wanted to know why. And it turns out it was using a newfangled technology known as 3D. All of the studios scrambled to adopt this new technology, and just like the YouTuber hiring craze of today, 3D became all the rage. Warner Bros. Became the first major studio to get a 3D film into production. Entitled House of Wax, it was actually a remake of a horror movie about a killer who encases his victims in wax. And to make it, they hired Hungarian born director Andre Detof, based on his reputation from a series of successful westerns he had made. What they didn't stop to consider was that he only had one eye, and a person needs two eyes to see in 3D. The movie was far too long into production before anyone realized this, though. Jack Warner, the head of the studio, didn't want to replace Andre, so instead he told him not to wear his distinctive black eye patch on set. At the very least, he didn't want anyone from the press to see it and publish a hit piece about how Warner Bros. Had hired a one eyed man to direct a 3D movie. Little did Jack know though, he had actually hired the perfect person. You see, as I mentioned, Andre de Toth was born in Hungary and he lived there for many years. During the Nazi occupation, he was forced to use his skills in cinematography to film Nazi marches. A lot of his skills were therefore developed in the moment and on the job filming elaborate, complex set pieces. Or to put it another way, filming real life Nazis was pretty good practice for filming a horror movie. Andre knew how to show the audience where to look and when and how to make them care about what was happening on screen. Ironically, these were more important qualities in directing a 3D movie than actually being able to see one. If a 3D shot isn't lit or framed correctly, objects in the foreground that aren't meant to pop out will distracting the viewer from whatever the director intended them to look at. And if the audience simply doesn't care care what's happening in the movie, then they won't be excited by something popping out at them. But Andre made sure that House of Wax was as spooky as possible. He hired a great classic horror leading man named Vincent Price, and you've heard his voice on thriller by Michael Jackson, and he put him in some truly disturbing makeup. The story of House of Wax follows a wax sculptor whose studio burns down, disfiguring him and destroying, destroying his life's work. Price's disfiguring makeup was so good that he was forbidden from eating at the studio commissary because he was grossing everyone out. Price's performance meant that the audience cared about the story. And Andre's cinematography, with heavy shadows and jump scares, kept them immersed and afraid. All of the heads and arms and fists that were jumping out of the screen were therefore very effective. Most infamously, Andre actually created a real massive fire to depict the wax museum burning down. He had his team light one figure on fire at a time so they could get a close up of each one burning. But they kept the fires going and then pulled the camera back to show the whole museum was on fire. Effects specialists awaited off camera, dousing any fire that spread beyond the stage. The only problem they encountered was that the fire rose so high it burned a hole in the soundstage ceiling. A shaft of blue light trickled down onto the scene and and it's visible in some of the shots in the movie. That wasn't too much of a problem though. But Vincent Price's eyebrows being singed off was a little more realism than Andre planned for. Luckily, those could always be drawn back on. The film was a huge hit with audiences and is still considered one of the best 3D movies ever made. And all it took was a one eyed filmmaker who was more curious about craft than gimmicks to make it jump off the screen. I hope you enjoyed today's guided tour through the Cabinet of Curiosities. This show was created by me, Aaron Manke, in partnership with iHeart Podcasts, researched and written by the Grim and Mild team and produced by Jesse Funk. Learn more about the show and the people who make it over@grimandmild.com curiosities. You'll also find a link to the official Cabinet of Curiosities hardcover book available in bookstores and online, as well as ebook and audiobook. And if you're looking for an ad free option, consider joining our Patreon it's all the same stories but without the interruption for a small monthly fee. Learn more and sign up over@patreon.com grimandmild and until next time, stay curious
[12:40]
BetterHelp Advertiser
A Better Help Ad One of the hardest parts about starting therapy not knowing what to expect if you've never tried it before, it's natural to wonder whether therapy is right for you or if you'll find someone you connect with. But instead of listening to an ad, explore the stories of real people who've actually benefited from therapy. Visit betterhelp.com reviews to see the experiences of real BetterHelp clients and learn more about how finding the right therapist can change everything. BetterHelp has an average life therapy session rating of 4.9 out of 5 based on more than 1.7 million client session reviews. It's a simple way to see why so many people continue choosing BetterHelp when you're ready. BetterHelp makes getting started easy. Answer a few questions, match with a therapist based on your needs, and if it's not the right fit, you can switch therapists at any time. Insurance options may be available through select health plans. See the reviews, see what stands out, and see if BetterHelp is right for you. Visit betterhelp.com for 10% off. That's betterhelp.com this is an iHeart podcast. Guaranteed Human.