Meet Our Cousins: [REDACTED]

Summary

Podcast Summary: Old Gods of Appalachia

Episode: Meet Our Cousins: [REDACTED]

Date: December 19, 2025
Host: DeepNerd Media
Type: Feature/Preview – Introducing Podcast: [REDACTED]

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Episode Overview

This special episode of Old Gods of Appalachia serves to introduce listeners to a new cousin in the horror podcasting family: the upcoming series [REDACTED]. Blending dark Appalachian horror with a pinch of sardonic wit, the episode showcases the first part of [REDACTED]’s pilot—a “monster of the week” horror comedy set against the backdrop of trauma, family loss, and the uncanny.

Listeners are transported into the messy, fractured world of Jacob Kane, a struggling actor whose life is turned upside down by tragedy and the onset of supernatural intrigue. The episode samples the emotional, comedic, and unsettling tones that define [REDACTED], with a full cast bringing the characters’ fraught relationships to life.

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Key Discussion Points & Plot Highlights

1. Introduction to [REDACTED] (00:00)

• The host sets the stage, introducing the new show—a blend of late 90s/2000s genre nostalgia with horror, humor, and serialized monster-hunting.
• Premise: Jacob Kane, after the death of his twin, steps into his late brother’s life, only to be drawn into the “Redacted Unit”—a secret agency dealing with supernatural threats.

"Following the death of his twin, failing actor Jacob Kane assumes his late brother's life in hopes of a fresh start. Instead of finding stability, however, Jacob finds himself working within the Redacted Unit, a covert agency tasked with containing impossible creatures and phenomena." — Host (00:20)

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2. Jacob’s World: Grief, Auditions & Struggle (00:55–03:55)

• Jacob’s phone call to his mother: A gut-wrenching scene where Jacob relives the trauma of a fatal car accident.
• Audition critique: Jacob’s frustration with the lack of artfulness in the lines he’s given highlights both his creative pride and precarious career.

"The lines that were sent to me were just so pedestrian." — Jacob (B) (02:19)

• Casting director’s reply:

"Jacob, we can't use alternate dialogue. The script is locked. We need to hear the lines as written." — Producer (C) (02:40)

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3. Humor & Friendship – Eli and Jacob’s Dynamic (03:44–06:43)

• Eli offers grounded advice, poking gentle fun at Jacob’s “artistic integrity.”
• Their banter at a diner brings moments of levity amid the darkness.
• Discussion of practicalities—getting a “survival job,” resume help, and Jacob’s inability to afford more than a single egg for breakfast.

"I thought you supplied chains to management." — Jacob (05:14)

"You just ordered one egg? ... Struggling artists, remember?" — Eli (05:33–05:43)

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4. Family Tensions – Grief and Estrangement (06:43–08:27)

• The conversation shifts to family—a missing brother (Jordan), the recent passing of their mother, and the emotional fallout.
• Jacob’s guilt and feelings of inadequacy are revealed as he confesses to pretending to be his brother to comfort his mother in her last days.

"I know it isn't right, but I would actually play along sometimes. I don't know. I thought it could actually make her proud." — Jacob (07:36)

• Eli offers empathy and reassurance, trying to counter Jacob’s self-doubt.

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5. Financial Pressures – Landlord Confrontation (08:28–11:17)

• Jacob gets a call from his landlord about overdue rent (“about to chain up the door”).
• A tense, brusque negotiation grants Jacob two weeks’ reprieve.

"It's quite evident that you are not good for it. You're behind three months." — Landlord Phil (10:49)

• Jacob’s self-deprecating humor and desperation are palpable.

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6. Low Point & Self-Reflection (11:17–13:56)

• Jacob visits his mother’s grave, sharing with her (and himself) a sense of hopelessness and insignificance.
• Memories of being a child star for his mom’s home movies contrast with his current struggles.
• Jacob wonders aloud if a “reset” is even possible; doubts pile up as night falls.

"My biggest role is still that car insurance commercial where I had that one line. But what about my deductible?" — Jacob (12:50)

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7. The Supernatural Intrudes – Cemetery Encounter (13:56–18:57)

• Jacob is approached by his estranged twin, Jordan, in a confrontation fraught with accusation and lingering pain.
• The scene quickly escalates as mysterious figures arrive (“thugs” und Hargrove)—Jordan warns Jacob not to reveal his name or identity.
• A scuffle ensues; one of the attackers appears to be struck by a car in a frenzied attempt to escape.

"Whatever happens next, keep your face down. Don't tell them your name. Don't tell him." — Jordan (15:13)

• Amid chaos, Jordan tries to protect Jacob, stuffing cash under the seat and urging him to flee.
• Their car crashes—Jordan is gravely injured, and the narrative pivots between panic, fraternal blame, and confusion.

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8. Aftermath and Identity Swap (18:57–20:10)

• Jacob wakes up post-crash in an ambulance, disoriented and uncertain.
• EMT and officer question him; in a moment of confusion or calculation, Jacob gives his name as “Jordan.”
• As reality blurs, the theme of identity—central to both the episode and [REDACTED]’s premise—takes literal, dangerous form.

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Notable Quotes & Memorable Moments

| Quote | Speaker | Timestamp | |----------------------------------------------------------------------------------------------------|----------------|---------------| | "The lines that were sent to me were just so pedestrian." | Jacob (B) | 02:19 | | "I thought you supplied chains to management." | Jacob (B) | 05:14 | | "You just ordered one egg? ... Struggling artists, remember?" | Eli (C) | 05:33–05:43 | | "It's quite evident that you are not good for it. You're behind three months." | Landlord Phil | 10:49 | | "I know it isn't right, but I would actually play along sometimes...I thought it could make her proud." | Jacob (B) | 07:36 | | "Whatever happens next, keep your face down. Don't tell them your name. Don't tell him." | Jordan | 15:13 | | "My biggest role is still that car insurance commercial where I had that one line. But what about my deductible?" | Jacob (B) |12:50|

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Timestamps for Key Segments

• 00:00–00:55: Host intro, podcast premise, and show background
• 00:55–03:55: Jacob’s audition, creative frustrations
• 03:44–06:43: Diner scene—friendship, comedic beats, job talk
• 06:43–08:27: Family loss and estrangement
• 08:28–11:17: Financial pressure, landlord confrontation
• 11:17–13:56: Graveyard self-reflection, Jacob’s lowest moment
• 13:56–18:57: Twin brother encounter, supernatural threats, car crash
• 18:57–20:10: Emergency aftermath, identity mix-up, cliffhanger

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Tone, Style, and Atmosphere

• The episode leans heavily into rich, naturalistic dialogue, juxtaposing dark humor with deep pathos.
• Appalachian gothic horror is undercut by moments of mundane absurdity (e.g., “supplying chains to management” and the single egg gag).
• Family trauma, grief, and identity are central, laying an emotional foundation for the supernatural escalation.
• As always, Old Gods of Appalachia delivers chilling atmosphere, strong characterization, and a grounded sense of place—here, by way of an exciting new “cousin.”

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Final Thoughts

This episode of Old Gods of Appalachia successfully introduces [REDACTED], setting up emotional stakes and some rollicking, dark fun. With top-notch voice acting and pitch-black humor, it’s a fresh addition for fans of horror and supernatural drama, promising monsters both literal and metaphorical.

Next: Part two of the pilot is teased, continuing the intrigue and establishing [REDACTED] as a show to watch in the Appalachian podcast horror landscape.

Transcript

[A]

Well, hey there, family. It's that time again, where we introduce you to another one of our cousins and suggest another fine bit of entertainment for you to engage in. Redacted is a new full cast monster of the week horror comedy from Athen and Jamie Petronas, inspired by late 90s and early 2000s television. Following the death of his twin, failing actor Jacob Kane assumes his late brother's life in hopes of a fresh start. Instead of finding stability, however, Jacob finds himself working within the Redacted Unit, a covert agency tasked with containing impossible creatures and phenomena. Each week they'll face up against a different threat or aberration. Don't take my word for it. Check out part one of the pilot right about now.

[B]

Hey. Hey, Mom. Yeah, yeah, I know it's late. I'm sorry. I. I just wanted to call you before the police do. There's been an accident. No, no, I'm fine. A couple of scratches, but. Mom, are you sitting down? Yeah, I think it would be best if you did. It's dad. He. He was thrown from the car. He must not have had his belt on. Mom, dad is. He didn't make it. Who. Who was driving? Well, I. I was, but it's not my fault. It. Mom, it's raining and the car just started sliding and I. No, no, mom, please, please, please don't go. Mom, please.

[C]

Thank you. Jacob, that was great. But did you prepare any of the material we sent you?

[B]

So I looked it over. I just don't think that it really resonated with the character. None of the dialogue really showed the gravitas that I think he deserved.

[C]

Jacob, Jacob, we appreciate the care put into your craft, but production really has a singular vision for this character.

[B]

Look, I get that there's a vision and all, but the lines that were sent to me were just so pedestrian.

[C]

You are aware that the writer is sitting at this table, correct?

[B]

Hey, I am sorry. Look, I didn't mean anything by it. All writers have to start somewhere, right?

[C]

Jacob, we can't use alternate dialogue. The script is locked. We need to hear the lines as written. If you could please just start again with the provided material. Whenever you're ready.

[B]

Sam.

[C]

Okay. So you didn't do the audition then?

[B]

No, I did do. Just wasn't what they wanted. They wanted some brainless nobody to recite their amateur script exactly as. Right.

[C]

Okay, yeah. You mean like, I don't know, an actor then?

[B]

Look, if they wanted an actor, I would have heard back by now.

[C]

You do realize how pretentious you sound when you get like this, Right? Like you have to hear that, right?

[B]

I wouldn't call it pretentious, per se. I prefer to look at it as having artistic integrity.

[C]

Ugh. Okay, well, yeah, all of that, whatever that is, it doesn't pay the bills, Jacob. And also, I don't think it's even possible to say per se without being pretentious, so.

[B]

Look, I'm not gonna waste my time reciting derivative bullshit for a part as an unnamed victim on some random crime scene.

[C]

Character could have come back in future episodes and it would lead to more work.

[B]

No, I read the script. That character is dead before the theme song plays.

[C]

Okay, fine, then. I don't know. Have you given any thought to picking up some, like, side work or something, you know, to subsidize your artistic integrity, you know?

[B]

Like a job?

[C]

Yeah, like a job.

[B]

I don't know, man.

[C]

Look, I know it's rough, but you can have a day job and still make time for acting. I mean, look, my job never stopped me from doing music. I'm able to do both.

[B]

Yeah, about that. What is it that you even do, Jacob?

[C]

You. You know this. I'm in supply chain management, right?

[B]

Yeah, I know we talked about it, but, like, what does. What does that mean?

[C]

Is it not obvious? Jacob? I. I manage supply chains.

[B]

This whole time, I thought you supplied chains to management.

[C]

What?

[B]

I don't know, like, bike shops, stuff, places that need chains. You're.

[C]

You're kidding, right? Hi.

[B]

Who had the blt?

[C]

Oh, right here. Thank you.

[B]

You bet. So you had the egg. That's me.

[C]

The egg.

[B]

Thank you. Of course.

[C]

Enjoy. Did you just order one egg? Yeah, just one singular egg.

[B]

Struggling artists, remember?

[C]

Homie, I'm buying. You can get more than one egg. You know that, right?

[B]

Look, you don't need to do that.

[C]

Apparently I do. Otherwise, you're going to order breakfast like a weirdo. Now you're done. You're already done. And now you're just watching me eat. No, I'll. I got.

[B]

Fine. Thank you.

[C]

You're welcome. I don't mind. Honestly, it's. It's more for me than you anyway. I come here a lot. Like.

[B]

Right.

[C]

This is one of my favorite spots, and you're kind of embarrassing me.

[B]

Okay.

[C]

With your egg.

[B]

Okay.

[C]

Single. Single egg.

[B]

You might be right about that survival job, by the way, with mom and everything. I could probably use a change of pace, at least for a little while. Hey, is your place hiring?

[C]

No.

[B]

No.

[C]

You would. You would hate supplying Jane's. The links and the hooks and the hoops and Stuff, But. But I can help you with your resume. I mean, I know all the corporate buzzwords, right? We can knock it out. It'll be super easy. Promise.

[B]

Thanks. Yeah. Might take you up on that.

[C]

Do you need a lift to the cemetery tonight, or are you sad?

[B]

Nah, I'll. I'll walk over later. Thank you, though. You know, it's really crazy. Mom's been gone for a week now and still. Still nothing. From Jordan?

[C]

Yeah. When was the last time you talked to him?

[B]

About two years. Man, I don't know. I don't know. I just thought he would show up for something like this. Yeah, so did Mom. You know, towards the end, there were. There were some nights where my mom would actually call me Jordan.

[C]

Well, I mean, you guys are twins, and she was really confused at the end. Makes sense that she would get you two mixed up, but. I know it's hard, you know?

[B]

Yeah. Yeah, I know it isn't right, but I would actually play along sometimes. I don't know. I thought it could actually make her proud.

[C]

Okay, no, Jacob, don't. You can't go there. Don't do that. You know, she loved you. And everybody could tell she was proud of you. I mean, she talked about it all the time. You don't. Don't do that.

[B]

It was still different with him. She would constantly bring him up, wondering how he was doing. She missed him. I. I still miss him. He's still my brother.

[C]

I know, and I'm. I'm sorry. Really? Oof. It's looking. It's looking pretty bad out there, dude. You're sure you don't want to ride?

[B]

Dude, I'll be fine. I'm not a child.

[C]

Are you sure? Cuz you sort of eat like one, so.

[B]

Oh, shit.

[C]

Oh. Who is it? Casting, maybe? Maybe you got the part. Possibly.

[B]

Nope. Landlord.

[C]

Oh, that's awesome. I didn't even realize you auditioned for a landlord. That's.

[B]

That's.

[C]

That's incredible.

[B]

Fucking idiot. My landlord. Should I pick it up?

[C]

Um, yeah, probably.

[B]

Jacob Kane. Hey, Phil. How are you? Whoa, whoa, whoa, whoa, whoa. Slow down. Take it easy. Yes. Yes, that is correct.

[C]

He sounds mad.

[B]

Look, I'm sorry, okay? I'm a few months late. I'll have your money soon. Jacob. I actually had a big audition today that I think went really shitty. Well, it did not go well. I'll have the rent in no time. Will you? I don't think you will.

[C]

Whoa.

[B]

Let's not get too hasty, Phil. Please calm down. Okay, okay. I'm on my way. I'm Right down the street. I'll be there in one minute. Don't do anything. Bye. Bye.

[C]

So, how do we think that went?

[B]

Oh, great. Just great. He said he's about to chain up the door to my apartment. Wonder who supplied him with that. Okay. Fucking asshole. I need to go. Cool.

[C]

Do you want me to, I don't know, order you an egg to go? Maybe. Maybe you'll get hungry later. Or maybe he wants an egg. I don't know. He seems like an egg guy.

[B]

Possibly. Wait there. No, I ate.

[C]

Yeah, my food.

[B]

I'll talk to you later. Okay. Thanks for the feast.

[C]

Yeah. See ya. Wait, Jacob. Before you go. You know I have your back, right? Like, no matter what happens, I'll. I'll cover for you if need be. You. You know that, right?

[B]

Yeah. Okay. This slow ass elevator. I don't have time for this. Whoa, whoa, whoa, whoa. What are you doing? What does it look like I'm doing? Changing your locks. Yeah, I can see that. But why? You know why. Look, I'm really sorry. Just give me. Give me a little more time. You know I'm good for it. It's quite evident that you are not good for it. You're behind three months. I know. I. I've just been dealing with a lot. My mom. I don't care about your mom. But. But she's dead. Unless she left you a little cash to pay the rent, I don't give a shit. That. I didn't mean it like that. I am sorry for your loss, but that doesn't change anything with this. Come on. Quit looking at me that way.

[C]

Fine.

[B]

You know what? Fine. I'll give you two weeks. Two weeks. Perfect. Two weeks to get me everything you owe. That should not be a problem. Not. Not a problem at all. Thank you so much. I'll have the money for you very soon. No worries at all, Phil. Not a problem. Yeah, right. Two weeks. Two weeks. Two weeks. This is going to be a problem. Hey, Mom. I'm gonna have to cut this short. Really sucks out here. I brought flowers this time, but they're just gonna blow away. I'll bring them back next time. Should have taken Eli up on that ride. I had another audition today and got another rejection. They were a way tougher audience than you were. I'll never forget how I used to film those stupid little plays I would put on in the living room. You'd tell everyone I was gonna be the next De Niro. You're always my biggest fan. And look where I am now. My biggest role is still that Car insurance commercial where I had that one line. But what about my deductible? I think I need a reset. I don't want to be known as that guy who almost booked the Hulu show, or Jacob, who needs a loan to cover rent. I keep trying to convince myself this is just a rough patch, but maybe it's just. Maybe it's just my life. Eli is still trying to convince me to pick up a steady day job. As agonizing as that sounds, I'm just not sure if that will be enough. Hello? Who's there?

[C]

You.

[B]

Hey. Stop. I know it's you. Talk to me. Damn. Is you. I knew I saw you. You need to get out of the car now. Are you kidding me? Jordan. Jacob, get out. I can count on one hand the number of times I've seen you in the last seven years, and all you have to say to me is get out? Why are you even here? Is your guilt finally catching up with you? I didn't. She kept asking for you, you know. Where's Jordan? Is Jordan coming? I had to lie to her, tell her you were on your way, that you. That you got held up. Hello? This is the part where you explain things to me. Where the fuck have you been? I'm sorry, Jacob. Oh, okay. Then I guess if you're sorry, I'll just hop on out and go back to taking care of everything on my own. That beard looks stupid, by the way. Just get out, Kane. We just want to talk.

[C]

Roll down the window.

[B]

Uh, who are these people? Listen to me. Whatever happens next, keep your face down. Don't tell them your name. Don't tell him. What the hell are you talking about? Whatever Hargrove wants, it can wait. Hargrove disagrees. You're out of time.

[C]

Aw.

[B]

Did this guy bring you flowers? We're in a cemetery, asshole. No, no.

[C]

That kind of name calling is uncalled for.

[B]

Who's this with you? He's nobody. A friend of a friend who knew my mother.

[C]

A friend of a friend? Really?

[B]

Hey, buddy. Who are you? Is your belt on? What? No, it's not. Christ, Jordan. Did you just run him over? Jesus fucking Christ. Oh, my God. Oh, my God. Oh, my God. You just fucking hit that guy. What do we do? What do we do?

[A]

Oh, fuck.

[B]

Oh, fuck. Oh, fuck. Oh, fuck. What the fuck is going on? Jordan, listen to me carefully. I need to drop you off somewhere far away from here. You cannot come back. What are you talking about? Who are those people? There's no way I can explain it to you. You need to trust me. This is for your own good. Trust you? I barely even know you. There's about 800 bucks in cash below the seat. Use that to get away. Stop. I'll drop you off it. Tell me what's going on. I told you I can't. That isn't good enough. I want to answer. Stop interrupting me. Tell me what's going on. Look out. Ow. Jordan, are you good? God damn it. Oh. Jordan. Jordan. Help me open this. Hang on. The door's stuck. Jacob, you need. Did you get out of here? Stay with me. I'm gonna get you out of here. Can you roll down the window? You gotta watch your back. My job. Fuck. This is all my fault. My job. Okay, it's fine. I'll use your briefcase. Look away. Stupid fucking window. Come on. No, don't apologize. You can apologize after we get you out of the car. Jordan, you still haven't told me where the fuck you've been. You can't just. Just get out of it. Jordan. Jordan, please. Jordan, wake up. Jordan, wake up. Jordan, please. I just got your back. Just wake up. Please. Let's wake up. Let's get him on 15. Intubation stats dropped it on 92. Where. Where am I?

[C]

Sir, you were in a serious accident.

[B]

You're lucky.

[C]

Most folks in a crash like that.

[B]

Would be done for.

[C]

The only thing we recovered was your briefcase.

[B]

Officer, What. Tell me thing. My brother. My brother was driving. I have to get him. I. Sir, you need to sit still. You're in an ambulance. You're safe. Take a deep breath with me, okay? Okay. Hi, I'm Jody. I'm an emt. We're taking care of you.

[C]

We.

[B]

We're in the ambulance on the way to the hospital. Sir, can you tell me your name? My name?

[C]

Yeah, like a job.

[B]

Singular Vision. My name is jordan.

[C]

Thank you for listening to the first part of our premiere episode of. Starring Jamie Petronas as Jacob Cain, Athen as Eli Reyes, Dan Morris from Fearzine as a strict producer, and Jeffrey Reddick from Final Destination as the anxious screenwriter, Karen Neat as the server, and James Spurney as Phil the landlord. Nathan Lunsford from the Storage Papers plays Jordan Cain. Harlan Guthrie from Malevolent plays one of the thugs, and Zoe D. Lee plays the other thug. Thug Ben Akira Spencer as the officer, and Yoela Descalite as Jody, the paramedic. Thank you for supporting the show. Part two starts right now.